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The establishment of the personal diary as an autobiographical genre in the literary system has different periodizations according to the context: while in the French area it takes place at the end of the 19th century and the first half of the 20th century, in the Iberian Peninsula it does not appear until the last decades of the 20th century. This work aims to analyse the personal diary of three authors, Rosa Chacel, Miguel Torga and Josep Pla, each of whom belongs to a linguistic tradition in the Iberian context: Spanish, Portuguese and Catalan respectively. The study of these three works from a joint perspective –influenced by Iberian Studies– will allow us to understand the emergence of a new literary genre: the literary diary. El establecimiento del diario personal como género autobiográfico en el sistema literario posee diferentes periodizaciones de acuerdo al contexto: mientras que en el ámbito francés tiene lugar a finales del siglo XIX y primera mitad del XX, en la península ibérica no se produce hasta las últimas décadas del siglo XX. Este trabajo tiene como objetivo analizar el diario personal de tres autores, Rosa Chacel, Miguel Torga y Josep Pla, cada uno de los cuales pertenece a una tradición lingüística del contexto ibérico: la española, la portuguesa y la catalana, respectivamente. El estudio de estas tres obras desde una perspectiva conjunta -influida por los Estudios Ibéricos- permitirá entender el surgimiento de un nuevo género literario en estos ámbitos: el diario literario.

Lytton Strachey and Josep Pla are authors with distinct creative personalities, but also with important points of contact. Pla felt a great admiration for the English writer, founder of the so-called New Biography. Strachey renewed the genre thanks to his critical eye and his literary instinct, attentive to detail, to synthesis, to irony. The narrative effectiveness of his texts and their psychological penetration shortened the distances between biography and novel. All these qualities are also present in the work of Josep Pla. When Pla read Strachey's work and that of the other New Biography authors, he was a young writer who had already decided the direction that his work should take: the memoirs. In his desire to leave a record of his time, biographies had already begun to play an important role, which would grow in relevance throughout his writing career. It seems reasonable to think that the reading of Strachey's work and that of the other New Biography authors could offer Pla confirmation in his chosen literary option as well as encouragement throughout his years of dedication to the biographical genre.

The aim of this paper is to present the city as a palimpsest in which moral memory—a key idea in Josep Pla’s work—becomes a critical framework within which to think about the history of cities from an autobiographical point of view

L’objectiu d’aquest article és pensar la ciutat com un palimpsest en què la memòria moral, concepte clau en l’obra de Josep Pla, esdevé una categoria crítica a la llum de la qual es pot parlar de la Història de les ciutats des d’un punt de vista autobiogràfic.

This article studies some pages from the Cartes d’Itàlia (1954) by Josep Pla dedicated to Venice and Naples. After paying attention to the bases of the author’s writings, and admitting for those two cities a double kind of urban space – Circular city or City-Island and Linear City or City-Shore, the journey and the steps of the traveller, in that double urban space, should be different, as long as it happens in the writings at his service.

The editors of Environments would like to express their sincere gratitude to the following reviewers for assessing manuscripts in 2016.[...]

Lytton Strachey and Josep Pla are authors with distinct creative personalities, but also with important points of contact. Pla felt a great admiration for the English writer, founder of the so-called New Biography. Strachey renewed the genre thanks to his critical eye and his literary instinct, attentive to detail, to synthesis, to irony. The narrative effectiveness of his texts and their psychological penetration shortened the distances between biography and novel. All these qualities are also present in the work of Josep Pla. When Pla read Strachey's work and that of the other New Biography authors, he was a young writer who had already decided the direction that his work should take: the memoirs. In his desire to leave a record of his time, biographies had already begun to play an important role, which would grow in relevance throughout his writing career. It seems reasonable to think that the reading of Strachey's work and that of the other New Biography authors could offer Pla confirmation in his chosen literary option as well as encouragement throughout his years of dedication to the biographical genre.

Landscape geographers or cultural geographers struggle with distinctions such as landscape as cultural artifact versus landscape as producer of cultural realities, landscape as text to be read versus landscape as stage on which to be acted, and landscape as primarily visual medium versus landscape as the material producer of a wide array of physical experiences. Here, Culleton explores El pages i el seu mon by Josep Pla whose work resolves problems in landscape analysis confounding cultural geographers.