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In the sixth and final episode of the series "Fátima e o Mundo" (Fatima and the World), the surprising growth of devotion to Our Lady of Fatima in various places in the distant and exotic East is addressed, ranging from China to Australia, passing through India, Vietnam, the Philippines, and, naturally, Macau.

Documentary series presented by Paula Moura Pinheiro, featuring art historians Maria da Conceição Borges de Sousa and Alexandra Curvelo for a visit to the Namban Screens at the National Museum of Ancient Art in Lisbon, which tell the story of what the Japanese saw in the late 16th and early 17th centuries when they observed the Portuguese traders and missionaries who connected Macau and Nagasaki.

Cultural program presented by Paula Moura Pinheiro dedicated to Portugal dos Pequenitos, in Coimbra, a theme park conceived and built as a leisure, educational and tourist space on the initiative of Professor Bissaya Barreto, with a project by architect Cassiano Branco, in 1940, to show aspects of Portuguese culture and heritage, as explained to us by guest Nuno Távora, Architect.

Interview with Carlos Ascenso André, about the books "Os Poemas de Tibulo" and "Caminhos do Amor em Roma", published by Cotovia, and interview with Manuel Falcão Malzbender, about the 3rd edition of "Noite da Literatura Europeia".

Guarda, procession of the Olive Oil Confraternity with the presence of Assunção Cristas, Minister of Agriculture and the Sea.

Madrid, the short film "No divã", directed by Miguel Costa, was nominated for best foreign language production at the Madrid International Film Festival and had already been presented at the Cannes Film Festival, in the Short Film Corner and at Script Road Macau.

Joana Vasconcelos, visual artist, presents the work "Valkyrie Octopus", an installation thirty-five meters long by twenty meters high, which will be suspended in a square in Macau.

China, Macau, New Year's celebration under the sign of the goat.

Macau, preparations for the reception of Chinese New Year 2015, the Year of the Goat, include a parade of marching groups, among them the Marcha de Alfama, from Lisbon.

Information program about the impact of the plan to reduce American troops stationed at Lajes Air Base, officially Air Base No. 4 (BA4) of the Portuguese Air Force, on the economic and social sector of Terceira Island in the Azores, highlighting the rise in unemployment among the region's inhabitants, a report by journalist Armando Seixas Ferreira.

Macau, the restaurant "Tromba Rija", located in the Macau Tower, promotes Portuguese cuisine.

The article argues that Macau constitutes a "multicultural face" of China, resulting from continuous historical encounters between the Portuguese and Chinese worlds, which produced a unique local culture irreducible to a single civilizational axis. The author contends that the relationships between language, culture, and multiculturalism—particularly the role of Portuguese as an identity marker and institutional feature—must be understood in light of reciprocal and cumulative processes of acculturation. Methodologically, the text employs a historical-cultural approach supported by bibliographic contextualization: it reconstructs key moments of Luso-Portuguese presence and interactions with the Qing authorities, and examines documentary and literary production (in Portuguese and in records associated with officials and travelers) as testimony to the cultural "encounters" that shaped material practices, imaginaries, and systems of knowledge. Among the main conclusions, it is highlighted that Macau emerged as a specific geographic-political space in Asia that persistently incorporated Latin characteristics and a blend of Western and Eastern references, visible in its architecture, gastronomy, customs, language, and religion. Thus, Macau's cultural plurality must be understood as the result of material and intellectual exchanges over the course of expansion, reflected in its cultural landscape and textual production.

This article critically examines the translation of the excerpt from Analects VII, 11 by Joaquim Guerra S.J., highlighting the “ingenuity” of his translation method and the way it dialogues with (and at times departs from) the mediation of James Legge. Based on a comparative analysis of the Confucian text in Chinese, the principal Neo-Confucian exegetical traditions (especially Zhu Xi) and contemporary reading paraphrases, the study identifies the recurrent dual interpretative line: (i) wealth would only be “pursuable” through the violation of moral principles; (ii) wealth would depend on a destiny unattainable by ethically and humanly oriented effort. Next, the author proceeds to a “translation in detail” of Guerra’s version, breaking down lexical choices and syntactic solutions for the period’s problematic vocabulary and for the articulation among “wealth,” “duty” and “destiny.” The conclusions argue that Guerra not only translates but reorganizes the ethical argument of the passage, drawing on semantic and philological resources to make explicit the normative restrictions already suggested by tradition, while at the same time correcting ambiguities inherited from earlier Western translations. The article thus demonstrates how linguistic competence and the lexicographic method constitute the foundation of a culturally situated reading of the Analects in Portuguese.

This article analyzes the editorial practice of Gervais Jassaud, focusing on limited-edition books that bring together Anglophone authors within the context of the transnational circulation of printed culture. The author argues that such collections should be read less as objects of "aesthetic curation" and more as cultural devices that produce encounters—selected, staged, and commercialized—between literary traditions and global heritage networks. Methodologically, the text draws on a critical-interpretive reading of paratexts and editorial statements (e.g., colophons, collection descriptions, and discursive framing devices of presentation), articulating them with the broader history of anthologies and with the "Oriental/Western" problematic that traverses representations of Macau and the Lusophone space. As a result, the article highlights recurrent strategies of legitimation: the aestheticization of the book as a means of cultural mediation, the construction of exceptionality through limitation and design, and the integration of Anglophone authors as a way to expand audiences and symbolic capitals. It concludes that Jassaud's limited editions function simultaneously as affective archives and as instruments of cultural translation, reinforcing—but also transforming—narrative hierarchies in the international circulation of books and images.

The article proposes rethinking Lusophony as a reconfigurable cultural and linguistic field, shifting the focus from territorialities and official authorities to "partially or non-official spaces" where practices of translation, pronunciation, and symbolic autonomy circulate. Starting from the question of what remains of the desire to expand the reach of a European language beyond its institutional limits, the author argues that the study of contemporary Luso-Asian literatures and mediations should avoid both the reproduction of "stock citations" from post-colonial theory and the neocolonial nostalgia associated with the center/periphery idea. The methodology is comparative and essayistic, grounded in examples of ethnolinguistic communities of Portuguese origin in migratory contexts (such as Southern New England) and in observations on Macau, where the co-official status of Portuguese coexists with the low centrality of its everyday use. It concludes that, in these interstices of officialdom, communities renew themselves by translating and communicating beyond political and geographic borders, transforming the linguistic landscape and offering open alternatives to the identities fixed by the twentieth century.

The article examines how "place-making" can be promoted (rather than merely preserved) within the context of accelerated urban growth in the Pearl River Delta, with a particular focus on Macau. Arguing for the thesis of the "power of the weak," the author contends that affective attachment to places emerges above all from subtle spatial cues, capable of reorganizing the experience of public space without imposing extensive or costly formal transformations. The research articulates frameworks of weak architecture and "urban acupuncture," integrating phenomenological, psychological, and neuroscientific approaches to understand perception, the encoding of environmental signals, and their translation into mobility, social interaction, and prolonged use of space. Methodologically, the work is grounded in a case study of an urban intervention in Hong Kong, complemented by examples from Taipei and Macau, drawing on in situ behavioral observations to map patterns of movement and modes of physical and social contact. The findings suggest that low-intensity solutions—unsystematic and contingency-driven—can generate participatory rehabilitation of the urban fabric, strengthening bonds with place and offering "therapies" applicable to Macau, provided they are calibrated to the everyday scale and to individual-environment relationships.

The article proposes a reading of Macau from the methodological framework of urban archaeology, understood as the investigation of the city as an “entity” and system, and not as a simple sum of discrete sites. It argues that the Macanese specificity—marked by a cultural duality between Portugal and China, reflected in the way the past is interpreted and valued—poses particular challenges to archaeological practice, due to the intense transformation of urban space, the multiple overlapping temporalities, and the public visibility of interventions. Methodologically, the author articulates subsurface archaeology with the archaeology of architecture, mobilizing the reading of construction processes, building alterations, and the historical reading of city blocks as instruments to understand the social dynamics inscribed in the territory. The analysis also contextualizes the late development of archaeology in Macau, associated with the absence of a regular framework in the initial period and the effect of transfers of knowledge and practices, highlighting the early campaigns linked to the territory. It concludes that urban archaeology constitutes a particularly suitable approach to face the heritage complexity of Macau, offering instruments to harmonize memory, management, and historical interpretation in contexts of asymmetrical cultural coexistence.

This article contends that Macao’s heritage should be understood as a cultural “genetic code”—that is, as the continuity of practices, traditions, and historical authorship that confer authenticity upon the urban legacy. The author argues that erroneous or oversimplified interpretations—often repeated in history books and on the internet—lead to factual distortion and the fabrication of “Disneyland-style” narratives, transforming buildings and places into mere products of the past, disconnected from the cultural dynamics that produced and continue to reproduce them. Methodologically, the text proposes a comparative and collaborative reading of history, articulating predominantly Chinese and Portuguese sources in order to reconstruct a “puzzle” of parallel and interconnected events. Based on this approach, it concludes that Macao’s uniqueness, as recognized by UNESCO, can only be fully explained by the Sino-Portuguese interweaving: not only in the construction of urban and architectural typologies, but also in the transfer of knowledge, technologies, and forms of social organization. Thus, heritage preservation depends on reinscribing living traditions into contemporary management and design, resisting the effects of globalization and accelerated urbanization.

The article examines the transition, following the fall of the Han dynasty, between the "crisis of the Classics" and the emergence of more autonomous cultural forms, articulating political decline with an artistic flourishing particularly visible in the domain of literary discourse. Arguing that the Confucian hegemony of canonical texts depended simultaneously on a shared ideology and imperial patronage, the author contends that the collapse of this framework eliminated incentives toward "orthodoxy," triggering both heterodox reactions and strategies of intellectual evasion. At this conjuncture, elites less dependent on the administration came to consolidate their own interests within the growth of large rural estates, while the private cultivation of the classics coexisted with their growing inadequacy to social reality. Methodologically, the text is situated within a contextual and comparative reading of ideas, supported by the analysis of an inaugural case from the second module of "Dimensions of the Canon": the Essay on Literary Creations and Poetic Discourse (Wenfu, 文賦), by Lu Ji (261–303), taken as a "test" for the proposed generalizations. The conclusions suggest that, although the authority of the classics was not formally abolished, their political-ideological function weakened, allowing artistic language—especially conversation and literature—to become a space of escape, creation, and conceptual reformulation, in a productive conflict between dogmatic ideal and historical experience.

Giorgio Sinedino's article presents a preliminary discussion of Lu Ji's 陸機 (261–303) *Wenfu* 文賦 (Essay on Literary Creation and Poetic Discourse), arguing that the text operates a decisive shift in the way literature was conceived in China during the Six Dynasties period. The analysis argues that, although Lu Ji mobilizes conventions inherited from earlier traditions—above all compositional procedures and generic expectations—his essay displaces the interpretive focus from ethical-political determinism toward a theory of creation centered on individual sensibility and poetic achievement. Methodologically, the author organizes the *Wenfu*'s argument into four movements (introduction, conception of the work, compositional execution, and epilogue), articulating concepts such as the correspondence between intention and object, the relationship between emotion and verbal elaboration, and criteria for evaluating a composition (expressive yield, variation, rhythm, and the management of “defects”). Based on readings of the preface and of the passages of theoretical formulation, the article concludes that Lu Ji grounds literature as process: it begins in withdrawal and contemplation, evolves through an intensification of sensibility, and culminates in the formal adequacy between language and inner experience, simultaneously reaffirming an aesthetic orthodoxy and the autonomy of art.