Your search

In this article, I propose to trace a historical itinerary that extends from the conquest of Malacca to the early period of permanent Portuguese presence in Macau.

The last novel by Henrique de Senna Fernandes, A Noite Desceu em Dezembro, was first published in its entirety in 2015, although parts of it had previously appeared in instalments in the Macao weekly, Ponto Final, as part of a project to resurrect the feuilleton genre and, more generally, encourage Portuguese literature in Macao. Although unfinished, this novel contains themes that are consistent with the author’s more well-known works, such as the novels, A Trança Feiticeira and Amor e Dedinhos de Pé, as well as his shorter fictions. It also signals an evolution in his attitude, as a Macanese, towards the overwhelming Chinese presence in the city, as well as in his consideration of the role of females in Macao society. This contribution discusses the development of the author’s treatment of such themes and includes a translation of an excerpt from the novel by way of an illustration.

Every nation has its own peculiar character, and the Japanese in particular is a religious being because he is superstitious, fearing God (or the gods), himself, others, the group, and the environment — the islands he inhabits, the sea that surrounds him, and the sky that watches over him. To protect himself from everything and everyone, the Japanese found first in Shintoism, and later in Buddhism, principles and beliefs that shape him in dialogue with nature and society. Christianity, however, eluded him, for it proposed the synthesis of all beliefs but imposed the monopoly of truth.

Based on its original novel, public interviews given by the filmmakers, and related writings, this study examines and discusses the adapted film

Arriving in Guangzhou from Russia in December 1923 as the Indonesian representative of the Red International of Trade Unions (Profintern) in the Far East as well as Communist International (Comintern) delegate for Southeast Asia — Tan Malaka, also participated in the Transport Workers of the Pacific Conference held in the southern Chinese city in June 1924. Drawing in an assembly of delegates from China, Indonesia, and the Philippines, the Conference assigned Malaka as editor of a proposed multilingual bulletin,

After describing the editions of *Nam Van: Contos de Macau*, the first work by Henrique de Senna Fernandes, and its reception in other languages, this review is based on the new Chinese translation, undertaken in 2020 by Song Zijiang and published by Praia Grande Edições, on the occasion of the tenth anniversary of the Macanese writer's death. We analyze the characteristics of the original Portuguese text, noting that the short stories were written over more than two decades, which grants them a certain stylistic diversity. Nevertheless, the thematic unity of the tales harmonizes these differences to a certain extent. We then propose that the Chinese translation homogenizes the formal features of the source text, while shifting the thematic axis according to the expectations of Chinese readers. In the final section, we illustrate the commendable work carried out by Song Zijiang by retranslating a passage from his Chinese text literally into Portuguese and comparing it with Senna Fernandes's original creation.

This study aims to reconstruct an essential part of the cultural and professional biography of Henrique de Senna Fernandes (HSF), particularly his lengthy tenure as a history teacher in official and commercial secondary education, in order to examine his public address commemorating the birth of Infante D. Henrique (1394–1460), delivered in 1957 at the Teatro D. Pedro V and promptly published in a magazine.

Henrique de Senna Fernandes (HSF) remains the most prolific Macanese writer and is, of all those who have taken Macao as their referent of writing, the most representative of the territory in its historical and cultural specificity. The present essay, following methodological procedures proper to the sociology of literature, is a journey through HSF's oeuvre, confronting it with the literary traditions represented in the territory, to which the work likewise refers. In the exercise of this analytical process, an additional aim was to ascertain the virtuality of the post-colonial paradigm, currently in vogue in the social sciences and humanities for the analysis of the respective work, from which it was concluded that such a paradigm, given the specificity of the territory and its influence on the processes of writing, would be of little use for the assessment of HSF's literary oeuvre. From the analytical process considered as a whole, it was thus possible to conclude that HSF's writing is not reducible to any of the literary traditions in question. HSF is a writer who, in the reckoning of what may be considered universal literature, stands on his own.

Henrique de Senna Fernandes, in various instances, professed his deep affection for Macao, endearingly referring to it as his motherland (

This article begins with an analysis of Henrique de Senna Fernandes's work, *Cinema em Macau — Desde o Início do Século XX até à Década de 30*, and aims to identify the themes addressed and the style of writing. First published in the 1970s in the newspaper *Confluência*, it is his least-known work, with the title suggesting a study on cinema in Macau, an approach adopted by the author whose sources were Macau and Hong Kong newspapers. However, if cinema constitutes the core of the narrative, the author reveals himself to be passionate about people, recording the impact of cinema on society and on Macau as a collective entity, enriching the narrative with stories of the people of the Christian city and the Chinese bazaar. Moreover, the spatial coordinates are not confined to Macau, but rather extend to the interior of China and the city of Hong Kong. We conclude that the author did not deviate from the style and themes of his novels and short stories, as he continues to focus on the lived experiences of people in Macau, with cinema serving as a pretext to revisit the themes that permeate his entire oeuvre.

The wooden stairs creaked, as I recall, when I climbed to the first floor of the Long Cheang restaurant, one of the few culau¹ that survived the fury of the city's unbridled modernization, in which the uprooting of what was already institutional became the rule. The greed for astronomical gains over a piece of land led old families and merchants to let go of what was most traditional in Macao.

It is an arduous task to speak of Henrique de Senna Fernandes, stripping away his intimate facet and all the characteristics that make him an ordinary human being. He was a father, a colleague, but above all a friend—one of those who leave behind a cruel saudade at a time when the culture of conviviality in the Portuguese language is becoming increasingly rare, with the unparalleled diminishment of the Portuguese community.

By examining the aesthetic novelistic production of Henrique de Senna Fernandes, and particularly his representation of female characters, this study aims to identify, explain, and contextualize conflicts rooted in gender issues. The methodology adopted is that of hermeneutic literary analysis, influenced by studies of identity, imagology, intercultural communication, the relationship between literature and history, and also by the study of gender asymmetries. The exercise seeks to contribute to the construction of knowledge about the representation of women in the East; to a better reading of cultural and historical codes; to the establishment of a dialogue between different spaces and people who express themselves in Portuguese; and to the self-knowledge of peoples.

Most people possess some knowledge of the overland Silk Road, yet comparatively fewer are familiar with the maritime Silk Road, despite both routes holding equal historical significance. Discussions regarding both the overland and maritime Silk Roads have predominantly emphasized their roles in facilitating international trade and cultural exchanges. However, there exists a third Silk Road—one that is seldom, if ever, mentioned—yet remains equally important to history, archaeology, and cultural heritage. This third Silk Road is the pirates’ Silk Road. Wherever thriving trade flourished, pirates were certain to prey upon it, simultaneously forging their own networks of exchange through black markets and friendly ports. Wherever cultural exchange occurred, pirates actively participated in cultural dissemination. In this article, I develop these themes through specific historical examples, with a particular focus on East and Southeast Asia. First, I discuss the routes associated with the maritime Silk Road and their connections to piracy. Next, I examine several pirate lairs situated along these routes—places where pirates purportedly buried their treasures. Subsequently, I delve into the exciting field of maritime archaeology to assess what has been uncovered regarding alleged sunken pirate ships along the maritime Silk Road. Finally, I explore some of the contributions pirates have made to the dissemination of folk religion and popular culture, as well as the potential contributions the pirates’ Silk Road can offer to contemporary historical and cultural heritage projects.

The adaptation of novels for cinema is highly frequent and so customary that the Academy of North American Cinema has always awarded an Oscar for best original story and another for best adaptation. Two novels by Henrique de Senna Fernandes were adapted for cinema, *Amor e Dedinhos de Pé* by Luís Filipe Rocha (1992) and *A Trança Feiticeira* by Cai Yuanyuan (1996). We intend to undertake a reading of the film by director Cai Yuanyuan to understand the extent to which his creativity and art of cutting and pasting, adding and interpreting a Macanese story, under a Chinese gaze, contributed to the success of a film that garnered so many awards.

This paper will focus on the intersection of knowledge systems in the 21

The article, written as an introduction to a special column on Traditional Chinese Medicine (TCM), argues that the growing centrality of "healthy living" practices has fostered intercultural encounters and the revaluation of philosophies of the body and well-being, in which TCM occupies a central place. The introduction frames five academic contributions stemming from the Spring Conferences program organized by the Macau Scientific and Cultural Centre (2022), bringing together specialists from Portugal and China and reflecting, on the basis of diverse linguistic trajectories (especially Portuguese and English), on the theory, principles, and philosophical dimensions of TCM in a contemporary context. Methodologically, the texts mobilize interdisciplinary approaches: (1) a Sinological analysis of the construction of a "philosophy for health" in Macao, articulating emotional intelligence, studies on Luís Gonzaga Gomes, Leonel Barros, Cecília Jorge, and Beltrão Coelho, and the idea of a "silk road" of health; (2) the reinterpretation of François Jullien's philosophy of landscape, bringing together holistic experience, integrity, and connection through Qi; (3) the discussion of the integration of TCM within the framework of ICD-11/WHO, highlighting the crucial role of syndrome differentiation and the need for unified criteria; (4) a scientific-taxonomic synthesis on Panax species and the bioactive potential of ginsenosides, with a warning regarding the conservation of Panax notoginseng; (5) the presentation of a China–Portugal collaboration program (Scimat) for the circulation and consolidation of knowledge. The implicit conclusion is that TCM is reconfigured in the present by engaging in dialogue with education, health systems, scientific evidence, and transnational initiatives.

Macao has seen an incessant cultural exchange between the East and the West since the arrival of the Portuguese in the mid-sixteenth century. Different types of hybrid cultural and artistic heritage, like music, language, and poetry, have since then been created. However, as reflected by scholars, more efforts are yet to be done in documenting the aforementioned artistic development and investigating how the cultural identity of the people of Macao has evolved through history. This paper contributes to study how the memories and identities of specific groups of people residing in Macao are articulated in their music depicting Macao, specifically, through analysing the Chinese songs ‘Song of Seven Sons — Macao’ and ‘Song of Macao’, and the Portuguese pieces ‘Macao, My Land’ and ‘Good-bye, Macao’, as well as using the discourses of music and cultural identity discussed by Simon Frith, Stuart Hall and Homi Bhabha, among others. The selected works concern their uses of language, musicality, and public appearance. Although one group may demonstrate contradictory narratives in terms of identity and beliefs with another, their overall musical expression about themselves and Macao constructs our communal understanding, memory, and recognition of this place. Over time, a change in terms of their narratives of identity and the audience’s reception can also be seen, resulting in a mobile identification, and shifting collective identity of the people.

At the crossroads of the East and the West, the Macanese are an 'emergent' mixed-race minority in Macao. They epitomise an in-between group in the liminal space between two dominant peoples — the Portuguese and the Chinese, and constitute another level of identity in colonial representation. In

Na sua obra seminal