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In the first part of the article, a brief presentation of the biography of Luís Vaz de Camões relating to Macao is undertaken, including the arguments for and against the poet's stay in the present Macao Special Administrative Region. In the second part, Camões's lyric poetry is approached from a philosophical standpoint in order to bring to light possible relations to be established with the principles of the major Chinese philosophies, both traditional and contemporary. In the third and final part, an attempt is made to establish relations between popular literature, Chinese philosophy, and Camões.

Jaime Correa do Inso was a Portuguese naval officer who lived between 1880 and 1967. With extensive experience in overseas postings, both before and after the fall of the monarchy and the subsequent establishment of the Republic in Portugal, he distinguished himself through several writings on the Orient, particularly Macao. In an era when there was a growing desire to learn more about the diverse Portuguese geographies around the world, the simplicity of his prose, combined with the descriptive rigor of his observations, conveyed insightful impressions as a Portuguese man unfamiliar with Eastern habits and cultures. Skillfully described, his analyses provide a fundamental testimony to life in what was then the Portuguese colony. This testimony is especially interesting, given that he was an outsider to the Luso-Chinese reality, who observed, reflected upon, and drew conclusions about cultural aspects vastly different from his own.

During the Estado Novo period, the Press Censorship Commission (CCI) operated in Macau, responsible for censoring Portuguese and Chinese newspapers, as well as Hong Kong periodicals published in Macau. Thus, we aim to analyze the functioning and operation of the CCI, in order to understand any possible difference in censorship criteria for newspapers in the two languages. By analyzing the clippings of censored newspapers sent by the office of the Governor of Macau to the then Ministry of Overseas in Lisbon, we seek to understand which topics were most targeted by the censors and their connection to the historical and sociopolitical context experienced in the enclave at that time.

The article introduces the trajectory "The Echo Macaense Journey" and argues that Macao's periodical press, since the nineteenth century, functioned as a technology of political and cultural mediation within a cosmopolitan, multilingual space. Drawing on historical evidence from newspapers such as *A Abelha da China* (1822) and the *Canton Register* (1827), the author contends that the press contributed simultaneously to the construction of a local perspective on governance and to the insertion of Macao into broader communicational spheres, including those of the Portuguese Empire and extra-imperial networks. Methodologically, the text organizes a contextual reading of the evolution of the periodical system in Portuguese, Chinese, and English, articulating it with demographic, economic, and geopolitical transformations—namely Macao's relative decline following the creation of Hong Kong, migratory flows to the British territory, and the circulation of mediating elites. The article concludes that, despite the vitality of publications in distinct languages, their communicational independence reveals tensions between local identities and imperial imaginaries, while the convergence of journalists, intellectuals, and elites reinforces the role of newspapers as instances of debate, pressure, and social coordination.

This article seeks to present the perspective offered by a republican newspaper from Lisbon —

Nestled on the periphery of southern China, tiny Macao has offered profuse inspiration for Deolinda da Conceicao (a Macanese) and Maria Ondina Braga (a Portuguese) to draw up narratives about the Chinese. Translated and collected in---

Allowing that no additional ‘smoking gun’ document has come to light, this article seeks to revisit some of the early literature on the cannon foundry established in Macao (c. 1627–1650) by Manuel Tavares Bocarro to expose gaps in our understanding as well as to encourage further research in this area. In line with recent historiography, the article acknowledges technological exchange in weaponry across Eurasia as opposed to an absolute European priority from the sixteenth century. As argued, this is amply demonstrated by the Portuguese–Ming China technology exchange such as contracted in Macao. As also demonstrated, the exchange was not confined to China but extended also to Japan and Vietnam under the southern Nguyễn dynasty at their request.

Camões's epic reveals a power of attraction, both centripetal and centrifugal, without equal in Portuguese literature. Countless literary experiences converge upon it, particularly those following its publication in 1572, and its capacity to serve as an object of reappropriations, rewritings, and even parodies is remarkable. This article examines certain instances of this historical and symbolic afterlife of the Camonian epic poem within Portuguese literature, characterizing it as a unique case within the broader history of literature.

On September 24, 1749, a ‘superb black man’, well dressed, speaking and writing French with surprising resourcefulness, was arrested in the port of Morlaix in Finisterre, often frequented by Breton corsairs. Arrested after a fight in a tavern in the city, the person was identified by the Morlaix police as someone wanted in several ports of Brittany for having left many unpaid bills and distributing counterfeit bills of debt and exchange. During the police interrogation, the defendant surprisingly identified himself as the ‘Prince of Macao’ and the elder son of its king, the ‘Grand Lord of Macao’. To the astonishment of the officials, he signed his statements with elegance as ‘Rodolfo, Deo Gratias Princeps ad Macao’. This article investigates this well-documented criminal case and then tries to understand the contexts and reasons for this strange falsification of a supposed ‘Prince of Macao’ in mid-18th-century France.

In this article I propose to show how the notoriety of Luís de Camões' work *Os Lusíadas* lies at the origin of the emergence in Macau of the first site of homage to the Portuguese poet, through the accounts of foreign travelers who journeyed to China in the eighteenth century with commercial or diplomatic objectives. When book publication was still limited and technical constraints allowed for the insertion of only a few illustrations, nevertheless, the description and iconography of the Camões Grotto are a constant presence in these publications and become the first symbol of Macau beyond borders.

Considered the most influential Western painter of the nineteenth century in the East, George Chinnery (1772–1852) lived in Macau for 27 years, a period during which he produced some of his most notable works. Through five testimonies from those who lived with him in Macau, from his arrival in 1825 until his death in 1852, a physical and psychological portrait of the English painter is traced.

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.

The Portuguese-language weekly

This research explores the historical and conceptual connections between Asia and Europe as portrayed in a diverse collection of impressionist landscape paintings from the inaugural public exhibition

O semanário

English artist George Chinnery spent the last 27 years of his life in Macao. His death in 1852 coincided with the initiation in London of what became known as the Victoria and Albert Museum or V&A. Today the V&A holds perhaps the largest public collection of Chinnery’s drawings. The artist’s reputation reached its apogee in the 1920s. Subsequently the V&A’s collection of his drawings — which largely depict the inhabitants and locations of Macao, as well as scenes of India and Canton — has received little exposure or publicity. Its range and scope are illustrated and discussed here, as are differences in Chinnery’s approach to drawing and to watercolour, and the appreciation of his art in recent times.

本文在笔者2019年关于中国工匠研究的基础上加以拓展，并汇辑了另一批与之相关的零散史料。将这些新资料纳入讨论后，可以清楚看出，1770年代至1780年代是广州外销市场的鼎盛时期。正是在此期间，画家们创作出部分最为杰出的作品，每年出口的壁纸及绘画数以万计。此后销售急剧下滑，至1806年后几乎完全绝迹。当今博物馆及拍卖行所藏的众多艺术品，以及大量关于广州画家的研究，均表明绘画生产一直延续至十九世纪。然而，其产量已远不及1770年代至1780年代的繁盛水平——这一阶段堪称广州外销艺术的“黄金时代”。

This collection of articles transcends our usual time markers by covering the period from the eighteenth to the twentieth century. Crossing the traditional historical barriers can often lead to new discoveries. When we explore interactions beyond traditional borders we often find continuities where there were previously only divisions and similarities where there were only differences. The case studies in this volume discuss a wide range of topics from economics, cross-dressing and extraterritoriality to personal biographies, Chinese art and Confucian education. They provide a broad view of China’s interactions with the outside world over a 150-year period.

Macao served as a pivotal gateway for Western commercial and intellectual engagement with China and much of Asia from the 1500s onwards, a subject that has been extensively explored by historians. This essay seeks to identify and provide information on online and electronic resources on Macao, especially those beyond Macao’s boundaries. It does not pretend to be complete but is intended as a useful introduction to some of the more significant materials currently available.

在帆船时代，位於上川島以東的烏豬島，是往返東南亞與粵中沿海各地船隻的重要航標。烏豬島上並無永久性聚落，惟島上可供淡水，且中國船員將其與一位護航神祇相聯繫。烏豬島周邊海域之一部稱爲烏豬洋，然其確切範圍與界限至今不明。第三個地名烏豬門，則引發進一步之疑問。本文討論明時期地圖、航海文獻及其他典籍中對此等地點及周邊諸島之相關記載，並兼及與烏豬洋並稱之其他海域。另一關注焦點爲葡萄牙文獻。在此等著作中，烏豬島以馬來語名稱Pulau Babi出現。對此等材料之分析，印證了中文文獻與地圖所呈現之印象，即烏豬島／Pulau Babi乃航海語境中之重要地標。