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China, aged 60, athlete Rosa Mota wins the 37th Macau International Marathon.

Society of Geography, presentation of José Rodrigues dos Santos' new book "The Governor's Mistress" which portrays Macau during World War II.

Seixal, 19th Edition of the Jazz Festival for the youngest called "Jazz Goes to School", among the various music-related initiatives, workshops for the youngest and a pedagogical concert stand out.

Program by João Gobern and Margarida Pinto Correia, with interviews with fado singer Kátia Guerreiro, about her latest work "Sempre", and Ana Aragão, architect, about her exhibition in Macau.

Second part of the program by João Gobern and Margarida Pinto Correia, with interviews with fado singer Kátia Guerreiro, about her latest work "Sempre", and with Ana Aragão, architect, about her exhibition in Macau.

In Macau, the exhibition "Rostos de Poetas" (Faces of Poets) is on display at the Fundação Oriente, bringing together 42 works by Chen Yu, a Chinese artist who portrays poets and writers from around the world, featuring the faces of Portuguese poets.

"My Macau" is a show by António-Pedro about the past and present of Macau, based on the correspondence he exchanged during the three years he lived in that territory.

7th Edition of the Macau Literary Festival - Rota das Letras, which takes place between 10 and 25 March, features more than 60 participants, including writers, artists and musicians, from various countries around the world.

Macau, in the 7th edition of the Literary Festival "Rota das Letras", Ana Margarida de Carvalho, Portuguese writer, and Rosa Montero, Spanish writer, take part in the conference "The Personal is Political".

7th Edition of the Macao Literary Festival - Rota das Letras, featuring over 60 participants, including writers, artists, and musicians, from various countries around the world.

An earthquake with a magnitude of 4.9 on the Richter scale and epicenter in Arraiolos, Alentejo, was felt today in Portugal.

In this paper, we present a socio-political reading of the Zhuangzi based in part on a brief review of contemporary Chinese scholarship on the text. We will argue that the approach to dealing with authority in the Zhuangzi can be summarized by the phrase “externally transforming without transforming internally”. When applied to situations where the individual engages with political or social authority, this idea commends the art of retaining a non-conforming and non-committed internal state while, to an extent, conforming to external circumstances and committing to certain actions. In this way the Zhuangzi not only aims at ensuring safety in potentially dangerous encounters with authority, but also the avoidance of “authenticating” authority. Following the language and logic of the Zhuangzi, the emphasis is on “forgetting (wang 忘)”, “losing (sang 桑)”, and “negating (wu 無)” one’s social self, rather than constructing or discovering an “authentic self” that might ultimately only reify authority. We will refer to the Zhuangzi’s strategy in terms of what we call “genuine pretending”.

The article presents the Introduction to an institutional program dedicated to the tribute to Camilo Pessanha (1867–1926) on the occasion of the 150th anniversary of his birth, articulating an evocation of greater thematic, geographical and organizational scope than previous commemorations associated with the 90th anniversary of his death. The narrative frames the project within a set of chronological and intellectual convergences, highlighting the shift from a reflection “in three dimensions”—poetry, law and sinology—to a broadened homage that mobilizes multiple cultural and academic entities. Methodologically, the text does not develop its own empirical analysis; rather, it describes the construction model of the celebratory program, based on institutional partnerships (Cooperation Protocol of the Lisbon Geographical Society and the Center for Comparative Studies of the Faculty of Letters, University of Lisbon) and on the integration of complementary activities (conferences, exhibitions and editorial launches). As results and conclusions, the article notes the scheduled realization of events in Lisbon, at the Museum of the Orient and in Porto, as well as the opening of the program through the inauguration of poster exhibitions and bibliographic displays. It also underscores the relevance of the launch of a special edition of *Clepsydra* and the valorization of consolidated critical readings of Pessanha’s work.

The article provides a brief introduction to the concept of sinology, after which it considers some of the sinological areas privileged by the poet Camilo Pessanha. The first consists of the Poet's reflections on Chinese culture. The second addresses Pessanha's collecting inclination, and the third, the translations of Chinese poetry that he had the opportunity to undertake.

The poetry of Camilo Pessanha represents a highly peculiar Symbolism, aesthetically linked to lyrical sonority, closer to the French Symbolists, such as Verlaine and Baudelaire, than to the Decadentist authors, privileging rhythm over idea, in the line of

Camilo Pessanha Revisited in Macau is an impressive testimony to the various activities carried out in the Territory in the 1990s, which underscore the active commitment of Portuguese governance to culture and history. In addition to a large and diverse editorial planning dedicated to Camilo Pessanha, interviews [now with historical status and frequently cited in bibliographies] were conducted with António Dias Miguel, Eugénio de Andrade, António Quadros, among others, whose controversial or innovative opinions helped clarify certain aspects of the Poet's life and work. By unifying all this scattered material, the aim is to provide an auxiliary service to studies devoted to Camilo Pessanha.

Despite not having been a deputy, senator or minister, the name of Camilo Pessanha was uttered on several occasions in the Portuguese Parliament. This occurred during the First Republic, the Estado Novo and the current democratic regime. Given the extraordinary quality of his literary work, the evocation of the poet's death and of the centenary of his death is unsurprising. There were, however, other interventions, circumstantial or otherwise, in which Camilo Pessanha is referred to in parliamentary debates. Providing a synthesis of all these interventions, while seeking to understand the circumstances in which they occurred, is the main objective of this article.

The passage through Macao and China will likely be one of the aspects that confers the greatest thematic unity to the work of Camilo Pessanha. From his long sojourn in the Macanese territory would arise an interest in Chinese writing, literature, and art without parallel in Portugal until the first half of the twentieth century, one that would profoundly mark the author's literary production. For Pessanha, the Orient constitutes the setting of a penetrating personal experience and a major object on the aesthetic level, worthy of study, of dissemination – and even of comparison with the West, often to the latter's detriment. The author represents the inversion of the widespread tendency of arriving at Asian literature by indirect means and constitutes, for that very reason, a primordial reference in the genealogy of the encounter between West and East. Whether in the accounts of the lectures on "Chinese Aesthetics" (1910) and "Chinese Literature" (1915), or in the "Introduction to a Study on Chinese Civilization" (1912), or in the "Preface" to the Chinese Elegies (1914), Pessanha strives to present almost all the topics that we would today consider essential in a lesson on Chinese society, language, art, and poetry. The scope of this work is to map and analyze the thematic contents of each of these texts, in order to conceive, through the manner in which he received Chinese art, language, and literature, the profile of Camilo Pessanha as a critic.

Proceeding from a brief commentary on Camilo Pessanha, authored by the Catholic intellectual Monsignor Francisco Moreira das Neves, the text “Camilo Pessanha—

Born to a poor Tanka fishing family in Macao, the Distinguished Son of Macao—Xian Xinghai—led an itinerant life and died in Moscow. In his short life, he composed almost 300 patriotic musical works. His iconic masterpiece—