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A Árvore das Patacas is based on real events that have now been fictionalized. At the center of this narrative is the controversial financing of a Portuguese political party, obtained through funds raised from Macau businessmen and involving processes of dubious legality. These facts culminate in the transfer of a substantial sum of money to Portugal, without knowledge of the final destination of these funds. This novel is one of the few literary works from Macau that employs an intersection of historical facts and fiction to construct a sociopolitical landscape of Macau during a specific period of time.
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This article establishes an interpretive dialogue between the historiography of João de Barros (sixteenth century) and the intellectual figure of Charles R. Boxer (twentieth century), arguing that, despite their chronological distance, both are connected by a long duration of common concerns: the writing of History as an erudite and didactic practice, the mastery of chronicle sources from the Portuguese East, and the recognition of the human and documentary value of their "chroniclers" as privileged mediators of the empire. Through an analysis of Boxer's texts that thematize João de Barros—with particular emphasis on the use and appreciation of the Décadas da Ásia—the authors demonstrate how Boxer legitimizes Barros as a credible source and model of historiographical inspiration, underscoring the centrality of the historical context and geographical framework in reconstructing the imperial trajectory. Methodologically, the study proceeds through critical reading and bibliographical contextualization, confronting biographical works and historiographical assessments produced by Boxer and by subsequent historiography. As a result, the article concludes that the Boxerian exaltation of Barros is not merely literary recognition but a methodological gesture: in choosing Barros as a reference, Boxer reaffirms a conception of the history of the empire founded on the quality of coeval narratives, on the triangulation between information and setting, and on the historian's responsibility toward sources.
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The article analyzes the thought and action of Benjamim António Videira Pires, SJ, based on his contribution to the Portuguese journal in the East *Religião e Pátria* (R&P), interpreting this participation as an articulated expression between Catholic faith and the Lusitanian identity project. The authors argue that, between 1955 and 1968—the period during which BVP assumed editorial and directorial duties—the journal functioned as a platform for historical research, educational intervention, and literary diffusion, enabling him to consolidate a public narrative about the Portuguese in the East and the conditions for propagating the Gospel message. Methodologically, the study proceeds with a contextual and documentary reading of R&P, reconnecting the author’s activities to the journal’s institutional trajectory, its circulation within the Lusitanian diaspora (with emphasis on Macau and also Hong Kong), and the political and cultural landmarks that marked the territory in the twentieth century. As results, the authors highlight the internal coherence of BVP’s program: the articulation between pedagogical work and intellectual production; the recourse to archives, books, and historical sites as empirical basis; and the defense of a cultural Lusitanity anchored in religious values. It concludes that BVP’s activities in R&P constitute a paradigmatic case of cultural mediation in the East, in which religion and homeland mutually reinforce each other through the printed word.
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João de Barros, humanist and Orientalist, and a contemporary chronicler of the Portuguese expansion in the sixteenth century, tells us of China at that time of encounter with new worlds, particularly in the Third of his *Décadas da Ásia*. This country of the Far East is treated with delight, expressing great admiration for those distant lands and peoples, which led him to baptize China as the Flourishing Middle Empire.
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From an early stage, gastronomy gradually became an identity marker of societies, establishing itself as an important contribution to their history.
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This article results from documentary research, encompassing both the literary work itself and articles about that work and its author, as well as elements obtained through dialogue with António Correia, a Portuguese poet and prose writer with a presence in Portugal, Angola, Macau, and Brazil. The aim is to strip this narrative of subjectivism, maintaining an independent critical judgment, with a view to contributing to a deeper knowledge and greater dissemination of António Correia's short stories, novels, and poetry.
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O semanário
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This reflection allows us to conclude that António Correia recorded, in the form of short tales, scenes of Macao society in which he sometimes participates as author-narrator, and this work may be considered a dated radiograph of Macao society with autobiographical notes, insofar as, while exposing social nuances, he also frequently places himself as an intervening character in the unfolding of events and, not infrequently, offers his own opinion and particular interpretation of the events and behaviors of the characters.
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This article begins with an analysis of Henrique de Senna Fernandes's work, *Cinema em Macau — Desde o Início do Século XX até à Década de 30*, and aims to identify the themes addressed and the style of writing. First published in the 1970s in the newspaper *Confluência*, it is his least-known work, with the title suggesting a study on cinema in Macau, an approach adopted by the author whose sources were Macau and Hong Kong newspapers. However, if cinema constitutes the core of the narrative, the author reveals himself to be passionate about people, recording the impact of cinema on society and on Macau as a collective entity, enriching the narrative with stories of the people of the Christian city and the Chinese bazaar. Moreover, the spatial coordinates are not confined to Macau, but rather extend to the interior of China and the city of Hong Kong. We conclude that the author did not deviate from the style and themes of his novels and short stories, as he continues to focus on the lived experiences of people in Macau, with cinema serving as a pretext to revisit the themes that permeate his entire oeuvre.