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Itinerary about the shows in Portugal, highlighting the 14th edition of "DOC Lisboa".

Interview with Ivo Ferreira, director, and Margarida Vila-Nova, actress of the film "Cartas de Guerra", about the work of António Lobo Antunes.

Azores, Island of São Miguel, Episcopal and Priestly Ordination Jubilees take place at the Matriz Church of São Sebastião, in Ponta Delgada, and are presided over by the Bishop of Angra and the Islands of the Azores, Dom João Lavrador.

Alentejo, Arraiolos, awareness campaign for cleaning public spaces, includes painting the glass containers of recycling points with traditional carpet motifs.

Documentary programme presented by Paula Moura Pinheiro, who invites Manuel Matos Fernandes, professor at the Faculty of Engineering of the University of Porto, to talk about the art of designing bridges over the Douro river by engineer Edgar Cardoso, a major figure in the world history of engineering.

Studio interview conducted by Júlio Isidro with Ivan Lins, Brazilian singer, pianist and composer, and Ana Laíns, fado singer, illustrated with archival images.

Journalist João Fernando Ramos interviews Jitendra Tulcidas, representative in Macau and China of the Portuguese Industrial Association, about the new Chinese year and business between Portugal and China.

Os testamentos de dois mercadores da mesma família, envolvidos na viagem do Japão, Antônio e Domingos Monteiro, revelam um modo de vida marcado pela mobilidade entre vários territórios do Sudeste Asiático, transacionando grande variedade de produtos. Por meio de sua rede de relações, é possível discernir a presença de parentes seus, sobretudo sobrinhos, e de outros negociantes portuenses, sugerindo que o modelo português de emigração para o Brasil já estava em ação no Oriente. Embora a transmissão de bens competisse aos provedores dos defuntos e ausentes, as misericórdias transferiam capitais de defuntos para a metrópole, em detrimento dos agentes diretos do rei, embora fosse impossível evitar a ingerência destes últimos. Apesar da vontade em fazer chegar o dinheiro à metrópole rapidamente para convertê-lo em padrões de juro, conveniências do trato, a burocracia régia e litígios sucessórios tornavam moroso o processo de transferência.Palavras-chave:transmissão de propriedade; Misericórdias Portuguesas; Misericórdia do Porto; Ásia portuguesa

This article analyzes the collection of objects intended for opium smoking held at the Museum of the Scientific and Cultural Centre of Macao (CCCM), seeking to contextualize their historical and cultural value within the scope of the collections that the CCCM preserves and promotes. Based on a descriptive and interpretive analysis of the museological ensemble — including typologies of containers, instruments, and materials — the author discusses how these pieces materialize practices associated with opium, while also revealing trajectories of circulation, taste, and appropriation linked to the Luso-Chinese context. Methodologically, the study combines a reading of catalogued materials, historical contextualization of opium consumption and trade in China and Macao, and reflection on the conditions of collecting and musealization that enable the transformation of utilitarian objects into heritage testimonies. The conclusions emphasize that the collection should not be read merely as an ethnographic curiosity or a record of illicit consumption, but rather as a material archive of cultural contacts and colonial mediations, wherein the function and symbolism of the objects are reconfigured within the museum. Thus, the collection becomes a critical device for understanding Macao as a space of plural encounters and for interrogating the forms of representing the past in contemporary collections.

The article analyzes the notion of "miscegenation" attributed to Benjamim Videira Pires, SJ, proposing that his work should be read less as a merely cultural synthesis and more as a pedagogical and hermeneutic endeavor of encounter between Christian and Confucian matrices in the context of Macau. The author argues that, for Pires, the Western–Chinese fusion operates through linguistic mediations and educational practices, in which translation, catechesis, and moral reflection function as devices of "transculturation." Methodologically, the study employs a critical-conceptual reading of the Jesuit's texts and their editorial and historiographical framing, articulating the philosophical and cultural categories mobilized throughout the reception of his thought. As findings, the article shows that "miscegenation" in Pires is expressed in a dual orientation: the valorization of dialogue between values and, simultaneously, the organization of a discourse of approximation that seeks to render differences communicable. It concludes that Benjamim Videira Pires's legacy contributes to understanding Macau as a space of continuous symbolic recomposition, where the bond between cultures is constructed through processes of teaching, translation, and ethical conciliation.

This article analyzes the cultural identity of Macao through the ideas of Benjamin Videira Pires, S.J., highlighting how the Jesuit interprets the territory's uniqueness as a space of mediation between Portuguese matrices and Chinese cultural dynamics. Based on an interpretive reading of the author's own texts and formulations, as well as a historical framing of the post-1949 political-institutional context, the study seeks to understand the extent to which cultural "flexibility"—conceived as resistance without rupture—becomes the explanatory axis of Videira Pires's thought. The argument emphasizes that, for the Jesuit, Macao's identity continuity is not founded on military imposition, but on the capacity for ethical and religious adaptation, preserving loyalties "to God and to the Fatherland" in an environment of international pressures and geopolitical transformations. Among the findings, the articulation between missionary legacy and educational projects stands out, along with the valorization of Jesuit networks and competencies associated with the Luso-Portuguese period, and the reading of social practices (such as the culture of "good manners" and other everyday expressions) as lived cultural heritage. The conclusion is that Macanese identity, in his thought, emerges as relative stability: a form of creative coexistence that resists historical catastrophe without losing cultural density.

The article analyzes the relationship between the work and perspective of Eça de Queiroz and the European imaginary regarding Chinese emigration to Macao, seeking to clarify how literary and historiographical discourses contributed to shaping perceptions of migratory flows between the second half of the nineteenth century and the period of consolidation of Portuguese rule. Aresta argues that Eça de Queiroz’s reception of Macao cannot be read as a simple “realist” mirror of Chinese mobility, but rather as an interpretive device that articulates observation, stereotypes, and debates on labor, commerce, and Asian “presences.” Methodologically, the study combines textual criticism with historical contextualization, confronting Eça de Queiroz’s references with eighteenth-century historical documentation and studies on the Portuguese and Asian presence in Macao and regional routes, including the role of missions and mercantile networks. It concludes that by intersecting literature and colonial sources, it becomes possible to identify continuities and ruptures between cultural narrative and material processes of migration and settlement, evidencing both the persistence of interpretive models and the limits of readings based on figures and typologies.

The article investigates the trajectory and reception of Manuel Maria Barbosa du Bocage as a literary figure between Macao and the Chinese sphere, arguing that the poet's biography and poetry become a privileged vantage point for understanding the modes of Luso-Oriental cultural circulation in the "Pearl River Delta." Departing from the historical centrality of Macao as an Atlantic-maritime port of contact with China—in dialogue with other canonical presences (Camões, Camilo Pessanha and, more recently, the modernist poetry of Eugénio de Andrade)—the study reinterprets Bocage's voyage through Portuguese India (Goa and Damão) and his subsequent arrival in Macao, confronting aspirations of fame and fortune with the evidence of imperial decadence and the moral economies of colonial daily life. Methodologically, the text articulates an intertextual reading of poems attributed to the author, anchored in biographical data and in the historical-cultural contextualization of the spaces through which Bocage passed, with attention to the social conditions that shape his satirical and licentious language. It concludes that Macao functions, in Bocage's work and literary image, as a setting of transit and observation, where the experience of the Orient "East of the East" is translated into a writing that combines desire, frustration, and critique, contributing to the fixation of enduring representations of Macao in Portuguese literature.

Aureliano Barata's article reconstructs the trajectory of the Jesuit priest Benjamim António Videira Pires (1916–1999), interpreting him as a key figure in the articulation between education, historiography, and the cultural memory of Macao over nearly half a century. The central argument maintains that the author's work, marked by missionary experience and pedagogical labor, decisively contributed to understanding the territory's historical complexity and to valorizing the persistence of Western cultural legacies, despite adverse political circumstances. To support this interpretation, the text employs a biographical and historical-contextual approach, situating the honoree's formation and activity within the transformations of republican Portugal, the regional repercussions of early twentieth-century conflicts, as well as the local impact of religious expulsions and the reorganization of education. Complementarily, Barata articulates the reconstruction of his personal itinerary with an assessment of Videira Pires's intellectual output, highlighting the need to gather and republish dispersed works, including articles published in religious and patriotic periodicals. The article concludes that, at a celebratory moment of the centenary, a more systematic valorization of his work is imperative, given its continued relevance for academic research and the future projection of Macao's historiographical legacy.

The article proposes a reassessment of the “first corpus” of Macau’s literature, arguing that its categorization has historically been marked by external criteria—above all, binarisms between historical document and “belles-lettres production”—which obscure aesthetic continuities and local cultural dynamics. The authors analyze how different practices of writing, editing, and circulation (in colonial and multicultural contexts) shaped the way certain texts were incorporated, excluded, or hierarchized within narratives about Macanese literature. Methodologically, the research combines bibliographic reconstructions and critical examination of the classificatory framework in which literature is discussed, articulating textual evidence with considerations of cultural institutions and transmission networks. In particular, the study illuminates the role of Tang Xianzu (汤显袓) by showing how the reception and mediation of the author/work become an interpretive operator for Macau: the translation, adaptation, and appropriation of references from Chinese theatre and dramaturgy function as a device for legitimizing and reorganizing the canon. It concludes that a more flexible categorical approach—capable of integrating performances, mediations, and hybrid practices—enhances the understanding of the foundations of early Macau literature and of how it was constituted in the encounter between traditions and regimes of valorization.

This article proposes a reading of *As Metades do Meu Dragão*, by Manuel Tavares de Pinho, articulating the motif of "uprootedness" with the notion of "root" as a symbolic operation: not as a fixed origin, but as an intimate construction arising from displacement. From a critical-literary framework, the author argues that the text is organized as a mirror of states of mind, converting what might be perceived as fragmentary or "rough" into the substance of the poetic act. In dialogue with discussions on Orientalism, cultural mediations, and processes of symbolic transfer between history and language, it is argued that the work mobilizes Luso-Oriental configurations not merely as a thematic backdrop, but as a mechanism of transfiguration: the Orient emerges less as a fully known alterity and more as a support for self-representation and for the dramatization of identity tensions. Methodologically, the article combines close reading of the novel's discourse and imagery with theoretical contextualization (including debates on the representation of the "Other" and strategies of aestheticization of historical experience). It concludes that *As Metades do Meu Dragão* offers a poetics of the in-between place, in which division ("halves") and the loss of root function as conditions for the production of meaning, memory, and cultural belonging.

Celina Veiga de Oliveira’s article revisits, within a biographical and historiographical context, the significance of the posthumous work of Benjamim Videira Pires, S.J., particularly A Embaixada Mártir (1988), interpreting it as an expression of Christianity “in circumstance” within the Luso-Asian space. The author proposes that the career of the Jesuit—educator, missionary, historian, and sinologist—should be read in light of the tension between religious conviction and historical, political, and cultural constraints. Methodologically, the analysis combines an intellectual framework (drawing on Ortega y Gasset’s concept of “circumstance”) with a thematic exegesis of the central chapters of the monograph concerning the dispatch, in 1640, of an embassy from the Senate of Macau to Japan, one year after the closure of ports to Macau’s ships, highlighting the episodes that culminated in the deaths of 61 Catholics and the construction of the testimonial process (“The Thirteen Witnesses,” “The Informative Process”). It concludes that A Embaixada Mártir offers an apologetic reading of the Portuguese legacy in the East, but also a historical narrative that demonstrates how Christianity, in seeking cultural mediations and transnational ties, confronts and is shaped by the reconfiguration of commercial geopolitics and religious repression.

The article examines how the reformist and Sino-merchant intellectual Zheng Guanying 鄭觀應 (1842–1921), often celebrated as a "Son of Macao," constructed his vision of modern China from translocal experiences spanning Xiamen/Xiangshan (his native region), Shanghai, and the Macao territory itself. The analysis sustains the argument that the designation "Son of Macao" does not arise from an administrative bond (Zheng had not belonged to the circuit of imperial examinations that led to officialdom), but rather from a hybrid cultural and urban circuit: his formation in the cosmopolitan environments of Shanghai and his periodic returns to Macao, where he composed the work *Shengshi Weiyan* 盛世危言. Methodologically, the text mobilizes biographical reading and historical-cultural contextualization, articulating personal itineraries, linguistic practices (including the learning of English), and written production with the materiality of Zheng's domestic heritage. It concludes that the so-called "Mandarin’s House," today heritage-listed and restored, functions as an interpretive device for integrating family memory, socioeconomic mobility, and imaginaries of reform, explaining why Macao transforms into an identity and intellectual emblem in Zheng's thought.

The article analyzes the artisanal dimension of Tomás Pereira (Santos da Costa Pereira), a Portuguese Jesuit active in Beijing during the reign of Kangxi (1673-1708), with a particular focus on his production of “curious things” — especially clocks, musical instruments, and other mechanical artifacts. The authors base themselves essentially on a documentary corpus attributed to Pereira, articulating it with contemporary references about his knowledge and with the circulation of skills between missionary and courtly contexts. The methodology combines paleographic and historiographic reading of sources, reconstructing the place of the European craftsman in the technical ecosystem of the Qing court, as well as the modes of legitimation of his work. It concludes that Pereira's reputation as a craftsman results from effective mechanical competence and an ability to translate technical knowledge into devices appreciated by imperial recipients. The production of musical instruments and measuring mechanisms is treated not merely as curiosity or a mere effect of exoticism, but as a practice embedded in networks of commission, evaluation, and ritual and cultural use. Thus, the article repositions Pereira as a technical and cultural mediator, offering new elements for understanding the governance of knowledge in the court of Kangxi and the role of Jesuit intermediaries in the material history of China.

The article analyzes the relations between poetry and diplomacy in the writing of two contemporary Portuguese authors—José Augusto Seabra and Luís Filipe Castro Mendes—proposing that the visibility of the Orient in their work results not from a simple exoticism, but from a cultural mediation sustained by long genealogies of Luso-Asian presence. Drawing on the idea of "Portuguese literary Orientalism" (in dialogue with the notion of Orientalism formulated by Edward Said), the text argues that the intertextuality organizing the representation of China and India functions as an aesthetic and ideological inheritance: the Orient becomes legible only when reinscribed through canonical figures (notably Camilo Pessanha, but also other lineages linked to the Orient). Methodologically, the essay privileges comparative reading and close reading of specific poems ("The Ten Thousand Mountains" and "Homage to Pessanha"), articulating them with contexts of textual circulation and with the persistence, in the postcolonial era, of forms of institutionalization of oriental experience by the state apparatus (diplomacy, public functions, and intertextual networks). It concludes that Seabra and Castro Mendes update a "homage" that, more than reconstituting geographies, reactivates a literary grammar of the Portuguese tradition in order to imagine the Orient as a space of inheritance, loss, and transformation.