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Copyright of Scripta is the property of Scripta and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

Copyright of Scripta is the property of Scripta and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

Copyright of Scripta is the property of Scripta and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

El propósito principal de este artículo radica en exponer y analizar doce entrevistas que hasta ahora eran de autor desconocido y que gracias al hallazgo de un cuaderno manuscrito de Josep Pla podemos atribuir al autor de El quadern gris. Estas entrevistas fingidas fueron publicadas entre 1940 y 1967 en la revista Destino y muestran una actitud autorial de gran modernidad y la conciencia de Pla de los vínculos entre la proyección de la imagen del autor y la recepción de su obra.

The objective of this article is to analyze Carmen Laforet's traveling experience in the book Paralelo 35 (1967). Published in a context in which the travelogue to the United States has already established itself as a literary tradition with an audience, Laforet's book distinguishes itself from those of its contemporaries by adopting a polyphonic perspective and by thematizing the linguistic aspect of the cultural experience. This article will be divided into three parts: the first part serves as an introduction to travel writing to the United States; the second part focuses on the chronicles published in the 1960s by Josep Pla, Miguel Delibes and Julián Marías, and the third part analyzes Paralelo 35. In this study, we will consider: 1) the set of themes from which the European literary imagery on the United States has been constituted; 2) the use of genres related to autobiography, essay and journalism; 3) the construction of a literary image of the writer, identifiable or comparable with that of the traveler, tourist or interpreter. [ABSTRACT FROM AUTHOR]

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.

Copyright of IBEROAMERICANA. América Latina - España - Portugal is the property of Vervuert Verlag and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

El 1955 Josep Pla publicava el llibre Week-end (d’estiu) a New York, tercera sèrie de les «Cartes de lluny», i recull de les cròniques del viatge a Nova York que havia publicat a Destino un any abans, amb motiu d’un viatge que li encarregà l’editor Josep Vergés l’estiu del 1954. El 1960 les cròniques foren integrades en el volum Viaje a América, amb un pròleg de Nèstor Luján. Finalment, l’any 1978, el volum 34 de l’Obra completa inclourà la crònica del viatge sota l’epígraf Les Amèriques. El llibre de Pla de 1955 s’insereix en una tradició de literatura de viatges que va arrelant amb força a l’Europa de després de la segona guerra mundial. L’objectiu de l’article és analitzar Weekend (d’estiu) a Nova York des d’una doble perspectiva: 1) l’interès per Nord-Amèrica i la seva recreació literària en la tradició de cròniques de viatges de postguerra d’escriptors que viatgen als Estats Units durant els anys 40 i 50; 2) els trets estilístics de la literatura de viatges planiana. Paraules clau: autobiografia; llibre de viatges; Josep Pla; Estats Units

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.

Josep Pla i Joan Fuster són considerats dos dels autors en llengua catalana més importants del segle xx, especialment valorats per les seves aportacions en el complex àmbit genèric de la no-ficció. Tots dos autors van fer de l’escriptura el seu modus vivendi i això els va portar a acceptar encàrrecs editorials de diversos tipus, tant en espanyol com en català. Entre aquests encàrrecs hi ha les seves contribucions a la col·lecció «Guías de España» (Edicions Destino, 1941-1977), la més representativa de les editades durant un període que se solapa amb la dictadura franquista. Aquestes guies –tres en el cas de Pla, una en el de Fuster– poden ser examinades des del punt de vista de la fixació de la identitat col·lectiva i nacional. En aquest article s’analitzen, a més, les estratègies emprades per tots dos autors per a situar-se identitàriament com a escriptors en llengua catalana, en incorporar-les posteriorment, traduïdes al català, a les seves respectives obres completes. Paraules clau: descripció del territori, prosa turística, estratègies textuals, traducció, identitat nacional, Josep Pla, Joan Fuster.

Josep Pla and Joan Fuster are considered to be two of the most important writers in Catalan in the twentieth century and are especially celebrated for their contributions to the highly varied genre of non-fiction. Both authors made their living from writing, which prompted them to take on various types of paid writing assignments both in Spanish and Catalan. Among these undertakings are their contributions to the series of «Guías de España» guidebooks (Edicions Destino, 1941-1977), the most representative of those published during the period which overlaps with the Francoist dictatorship. These guides -three in the case of Pla; one by Fuster- can be examined from the perspective of a definition of collective and national identity. This article also analyses the strategies employed by both writers to identify themselves as authors in Catalan when their translations of these works into Catalan were subsequently incorporated into their Complete Works. [ABSTRACT FROM AUTHOR]

The main goal of this article is to bring up the topic of irony in the essay as a literary genre, based on the considerations made by Eugeni d’Ors, Josep Pla and Joan Fuster. The emergence of the definition of irony as an incomplete adhesion, which refers to Ors although it has lasted especially through Pla, is revised here; the intellectual history of the definition is analyzed in order to consider in which moment Fuster’s essay relates to it and, taking irony as a starting point, it gives a boost to ontemporary Catalan essay.

Copyright of Zeszyty Naukowe Uczelni Vistula/ Vistula University Working Papers is the property of Vistula University and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

Entre el 19 y el 25 de julio de 1909 estalló en Barcelona un movimiento popular de protesta contra la movilización de reservistas enviados a Marruecos. La subversión revistió un carácter marcadamente anticlerical, con muchos incendios de iglesias y conventos y tres sacerdotes asesinados. Joan Maragall escribió tres artículos disintiendo de la dura represión del gobierno, respaldado por la opinión general. En un primer artículo Maragall acusaba a la burguesía catalana de falta de amor a los pobres. En el segundo pedía que no se aplicaran más penas de muerte, pero no se lo publicaron. En el tercero y más famoso explicaba su experiencia de una misa celebrada en una iglesia quemada por los revolucionarios, en la que vio lo que debería ser la Iglesia, libre de la protección del estado y de los ricos, y la misa en la lengua del pueblo. Este artículo causó gran escándalo entre la burguesía de Barcelona. [ct] Entre el 19 i el 25 juliol 1909 va esclatar a Barcelona un moviment popular de protesta contra la mobilització de reservistes enviats al Marroc. La subversió revestí un caràcter marcadament anticlerical, amb molts incendis d’esglésies i convents i tres sacerdots assassinats. Joan Maragall va escriure tres articles dissentint de la dura repressió del govern, recolzat per l’opinió general. En un primer article Maragall acusava a la burgesia catalana de manca d’amor als pobres. En el segon demanava que no s’aplicaran més penes de mort, però no l’hi van publicar. En el tercer i més famós explicava la seva experiència d’una missa celebrada en una església cremada pels revolucionaris, en la qual va veure el que hauria de ser l’Església, lliure de la protecció de l’estat i dels rics, i la missa en la llengua del poble. Aquest article va causar gran escàndol entre la burgesia de Barcelona.

Aquest article analitza com l'escriptor i periodista Josep Pla va contribuir a crear un estat d'opinió sobre una part important del nostre patrimoni cultural i urbà, com és el modernisme arquitectònic. Els seus plantejaments estètics van variar d'un període a l'altre, amb la qual cosa es demostra que la cultura pot ser objecte de manipulació per part de la política i dels mitjans de comunicació per a imposar principis que tenen poc a veure amb els seus valors estètics i ideològics inicials.

Amb la creació del Premi d’Honor de les Lletres Catalanes, el món literari i cultural català va viure de forma recurrent una polèmica sobre si l’escriptor Josep Pla era mereixedor d’aquest guardó. Les diferents opinions no valoraven els mèrits literaris de Pla, sinó consideracions sobre l’ús de la llengua catalana per part dels escriptors i les seves implicacions en la supervivència de la cultura pròpia. L’article ressegueix aquesta qüestió i aborda també el paper essencial de la revista Destino en aquests fets.

Tomando la obra literaria de Josep Pla como fuente de reflexión antropológica, el artículo explora la relación de la memoria con la cultura local en Cataluña y la vitalidad de la memoria que se manifiesta, tanto en forma de recuerdos como de olvidos. A la vez que se destaca el papel de la memoria en la obra de Pla, se reivindica la importancia de Pla para la memoria de los catalanes.

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.

Giacomo Leopardi’sZibaldonewas well received in Catalonia during the second half of the twentieth century. This article explores the reception of his diary by Catalan diarists, particularly Joan Puig i Ferreter and Josep Pla. The similarities and differences between these authors and Leopardi could be defined in terms of the following characteristics:a)tempering the presence of the ‘I’ without deposing it;b)substituting a systematic discourse for the illusion of the statement expressed in absolute terms;c)simultaneously promoting anti-poetic writing and oases of lyricism; andd)uninhibition and dispersion in the mechanisms of intertextuality [ABSTRACT FROM PUBLISHER]

Copyright of Zeitschrift für Katalanistik is the property of Zeitschrift fur Katalanistik and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

Copyright of Revista de Lengua y Literatura Catalana, Gallega y Vasca is the property of Editorial UNED and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

The purpose of this article is to discuss the development of Joan Miró's aesthetics between 1915 and the early 1920s, and to offer an interpretation of a series of landscapes that he painted between 1918 and 1922, by highlighting their similarities with some of the landscapes described by Catalan writer Josep Pla in hisObra completa. Both Miró's and Pla's landscapes are situated within the context ofNoucentismeand, more particularly, ofNoucentisme's classicist aesthetics as defined by Eugeni d'Ors in hisGlosari. [ABSTRACT FROM PUBLISHER]

This article examines how the writer and journalist Josep Pla contributed to opinion formation regarding architectural modernisme, an important part of Catalan cultural and urban heritage. The fact that Pla's aesthetic proposals varied from one period to another demonstrates how culture is manipulated by politics and the media so as to impose principles that have little to do with initial ideological and aesthetic values. [ABSTRACT FROM AUTHOR]

The article discusses early 20th century Spanish anticlericalism and the writings of Spaniard Joan Maragall against government repression in Barcelona in 1909. The author focuses on three articles in which Maragall dissented with government suppression of protesters and criticized public approval of the government's actions. He also considers the economic roots of the social crisis in early 20th century Spain and discusses the lack of response from religious leaders such as the Bishop of Barcelona Joan Laguarda.

In the present article I will show how autobiography in Spain has been adapted as an interesting gender by some authors who have been considered as “antimodern" and, at the same time, I will emphasize how the antimodern autobiography looks at new forms of behavior of the “self" on the one hand and the identity on the other. From this point of view, there would be an “antimodern identity" that would be reflected in these autobiographical texts of the following authors as a sign of their work's “own identity". The antimodern identity thus becomes a way of getting out of modernity, of the banality of the modern liquid “self", opposite to a “strong" conception of the antimodern identity. I have chosen Josep Pla and José Jiménez Lozano because of their clear examples of autobiographical texts, demonstrating a solid antimodern attitude in their work. [ABSTRACT FROM AUTHOR]

L’article estudia la relació de Josep Pla amb Itàlia, basant-se sobretot, però no exclusivament, en el primer contacte de l’escriptor empordanès amb la península italiana tal com aquest es veu reflectit en les seves col·laboracions a diferents publicacions a principis dels anys vint. L’article analitza també el mètode d’escriptura de l’autor a través de la lectura d’alguns fragments de la seva obra, en especial l’article sobre la seva primera visita a Asís, que és el nucli original del llibre Cartes d’Itàlia.