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Statements by Mourinho Félix, Deputy Secretary of State for Finance, on the fact that the territory of Macau is on the blacklist of tax havens drawn up by the European Union (EU).

Statements by Mourinho Félix, Deputy Secretary of State for Finance, on the fact that the territory of Macau is on the blacklist of tax havens drawn up by the European Union (EU).

Journalist Cristiana Freitas interviews via Skype João Francisco Pinto, director of TDM Macau, about the typhoon that passed through Macau, the trail of destruction it left, and the chaos at the city's airport.

Program about the Macau International Music Festival held in 1995, with a statement from pianist Sequeira Costa.

Journalist Cristiana Freitas interviews via Skype, João Francisco Pinto, director of Televisão de Macau (TDM), about the United States of America dropping a GBU-43 bomb in Afghanistan, and about North Korea preparing to launch the sixth nuclear missile.

Macau, filming of the film "Hotel Império" by director Ivo Ferreira.

China, Macao, José Rodrigues dos Santos, writer, is a guest at the literary festival "Rota das Letras" to talk about the book "Reino do Meio".

Macau, Old Court Building, 6th edition of the Macau Literary Festival – Rota das Letras, brings together various writers, editors, translators, journalists, musicians, filmmakers and visual artists of different nationalities.

Live from Lisbon, statements by Marcelo Rebelo de Sousa, President of the Republic, on the occasion of the 22nd International Food and Beverage Sector Fair (SISAB).

Program dedicated to Kampot, in Cambodia, Macau, in China, Warsaw, in Poland, and Cartagena, in Colombia, with a journey guided by four Portuguese emigrants and head chefs, who take us through their neighborhoods and show us how they live, how they feel the city and its typical and iconic places.

Azores, island of São Miguel, the Azorean Center for Milk and Dairy Products (CALL) meets for the first time with the new Regional Secretary for Agriculture, João Ponte, to analyze market strategies.

Lisbon, the new Year of the Rooster is marked with parades and celebrations by the Chinese community in Portugal.

This article examines, within the scope of collecting and museum heritage, the circulation and recontextualization of Chinese cultural practices through artefacts associated with cricket fighting in the early twentieth century. The author argues that the "singing crickets" held in the collection of the Museum of the Macao Scientific and Cultural Centre are not merely ethnographic objects, but artefacts of material memories that condense a broader tradition—hua niao yu chong (flowers, birds, fish, and insects)—and its transformation into performative arts, particularly within the historical context of cages and the continuous "concert." Methodologically, the research articulates historical and cultural reading (sources on the prestige of crickets and the emergence of fights as organized entertainment) with collection analysis: identification of the artefacts, attention to their functions and possible acquisition circuits, and interpretation of their role in the museum's exhibition policies in Macao. As its main conclusions, the article demonstrates that the museum artefacts function as mediating devices between China and the Lusophone world, preserving knowledge of capture, care, and sonic appreciation, while also producing new heritage narratives that reconstruct, for the present, the "memories of fights" associated with everyday life and urban taste at the turn of the century.

The article "Poetry in Macau (Creative Writing)" proposes an essayistic reflection, of a literary matrix, on how the Portuguese presence in Macau materializes not only in buildings and institutions, but also in poetic spaces and urban imaginaries. Starting from narrative itineraries through the city initiated in 2013, the author focuses on places such as the Jardim de São Francisco—associated with the transition between religious orders, barracks, and urban transformations—to discuss the fragility and persistence of Luso-Iberian cultural memory in the "Far East". The argument articulates local history, symbolic interpretation, and intertextual reading, resorting to the contrast between ordering practices (religious and military) and the lyrical dimension represented by poetry, with particular emphasis on Camões and, allusively, figures such as Camilo Pessanha. Methodologically, the text operates as creative writing with a critical function: wandering, descriptive detail, and the biographical problematization of the figure of the poet function as tools to think about exclusions, displacements, and cultural survivals. It concludes that poetry acts as a force of sustenance and reorganization of meaning, converting urban and political losses into symbolic continuity, albeit always "reduced to minimal expression".

The article argues that the image of Macau as the “Land of the Lotus Flower” (Lianhua Di) operates as a historical and cultural metaphor of hospitality for diasporic subjects, especially for Chinese “displaced returnees” who found lasting shelter in the city. Drawing on the trajectory of Liang Piyun 梁披雲 (1907–2010)—intellectual, educator, social activist, and also poet and calligrapher—the author reads the experience of errance and repositioning as a process of “regeneration” in the Macanese space. Methodologically, the text articulates historical-biographical analysis with intertextual reading: it mobilizes classical poems attributed to Liang’s practice and sensibility, as well as literary and toponymic references that relate Macau to the lotus (cartography, place names, and visual traditions). The protagonist’s contributions are examined in educational networks extending across Quanzhou and Southeast Asia (Malaysia and Indonesia), as well as in efforts to preserve Chinese calligraphy as a cultural legacy between Hong Kong and Macau. It is concluded that Macau functions simultaneously as a “port of refuge” and as a symbolic device of reinsertion, allowing the diaspora to find rootedness and local recognition.

In this essay, Clara Sarmento argues that Intercultural Studies should be understood as a communicational and political movement situated at the intersection between knowledge production and social regulation. Drawing on the notion of "interculturality" as encounter, transit, and mediation—from colonialism to contemporary digital heteroglossia—the author contends that the current intercultural journey is global and accelerated by technologies, rendering insufficient any approach that reduces the "inter" to a "us/them" opposition. The proposed analysis intersects the reconceptualization of identity according to contexts of migration, deterritorialization, and virtuality with Homi Bhabha's idea of the "third space," wherein hybridism and cultural translation operate as politically subversive forms capable of deactivating conservative binaries (such as theory/practice). Methodologically, the text adopts an interdisciplinary and self-reflexive dialogue, critically reading the normative practices of academia and the editorial and economic pressures that shape stereotypes and research outcomes. It concludes that, although globality reconfigures regimes of power, researchers tend to respond through strategies, innovations, and subversions, often situated in "border zones" and peripheral thresholds that, paradoxically, prove central to cultural and scientific experience.

Giorgio Sinedino’s article proposes a recontextualization of Gu Kaizhi 顧愷之 (344?–406?) as a “poet-painter” embedded in the sociocultural milieu of the literati elite of the Jin dynasty. The contribution is pioneering in assembling and translating into Portuguese a structured set of materials on the painter: (1) the complete biography from the *Jin shu* 晉書 (*Book of Jin*), (2) an ancient catalogue of works, and (3) essays and critical judgments attributed to Gu, as well as statements by Xie He 謝赫 and Yao Zui 姚最 that fueled a prolonged historiographical debate. Methodologically, the author conducts a comparative selection of sources from different chronologies and genres (dynastic chronicle, catalogues of “famous paintings,” and anecdotal anthologies), emphasizing that Gu’s representation varies according to the moral, literary, and institutional framework of each work. As its main conclusion, Sinedino argues that painting in the Chinese tradition does not function as an autonomous art but rather as an ancillary practice to literary ideology and the value system of the “Literary Garden,” which is why Gu emerges less as a “professional painter” and more as a versatile literatus, legitimized by his social insertion and cultural utility.

The article proposes a historical-aesthetic reflection on the relationship between painting and poetry in the Chinese experience, taking as its axis the expression "詩畫一心" ("poetry and painting, one heart") and the case of Gu Kaizhi (4th–5th centuries) as a point of observation of the artistic "canon." From a contextual reading of epigraphs and commentaries—with particular emphasis on the famous formulation attributed to Su Shi regarding Wang Wei's painting "Lantian, mist and rain"—the author argues that the communion between the arts is explained not merely by literary themes transposed into the image, but by a functional equivalence at the level of intentionality, emotional state, and regimes of appreciation. Methodologically, the text articulates exegesis of literate sources, reconstruction of the traditional hierarchies of the "arts," and a suggestive comparison with a classical Western text, in order to illuminate the particular status of Chinese artistic practice as an integrated system. Among the main results, it is highlighted that "painting that poeticizes" and "poetry that paints" operate as cognitive categories for understanding "hybrid" works (painter-poet/calligrapher-poet) and for reassessing the formation and social function of the artist within a culture centered on poetic writing.

The article analyzes the representation of women in Macau’s history and fiction, arguing that local literature—particularly novels and short stories—can offer alternative models of public and semi-public figuration, distinct from the male protagonists consecrated by Macanese narrative. The author proposes a comparative reading that intersects the historical plausibility of characters with the presence of social, geographical, and anthropological mediations in the construction of the plot. The central argument is that, although female characters frequently appear as “almost real”—with common names and insertion into historically plausible societies—the contrast remains open between Macau’s historical richness and the lesser production of historical novels in Portuguese that recover pre-colonial facts and identities through fiction. Methodologically, the text articulates gender studies and literary analysis, examining particularly the work of Deolinda da Conceição and Henrique de Senna Fernandes, considered relevant for understanding the gallery of situations experienced by women of the Chinese community and the historical-social density conferred upon their narrative worlds. It concludes that, even when not materializing as a “historical novel” in the strict sense, literature evidences close relations with history, functioning as a sociological resource to reconstitute female experiences in Macau, especially during the early twentieth century.

The article "Pega Azul: A Bird in the East and West" by Rui Rocha examines the blue magpie as a symbolic figure capable of crossing cultural, religious, and aesthetic boundaries between the East and the West. Based on the assumption that birds have historically functioned as mediators between earth and sky, divine messengers, and models for interpreting the world, the text proposes to trace the meanings attributed to this bird in different traditions and to weave them into an intercultural reading. Methodologically, the author mobilizes a comparative approach grounded in symbolic repertoires and historical-cultural references, articulating descriptions of mythologies and representations with the identification of semantic continuities and reconfigurations over time. The main conclusions highlight that, although the blue magpie may be recognized in specific records as a concrete species, its persistence in the cultural imagination primarily stems from the recurrence of attributes associated with flight, color, and the "messenger" character of birds. Thus, the bird's "passage" between cultural universes is not merely a circulation of motifs but a reinterpretation of meanings, in which East and West engage in dialogue through shared categories and contextual differences.