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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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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.
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- Journal Article (6)