STATIC MACAO AND MACAO IN TRANSITION IN THE SHORT STORIES OF A MACANESE WOMAN一位土生葡人女作家筆下的靜態與變遷中的澳門
The article analyzes the representation of “static Macao” and “Macao in transition” in the short story collection **Cheong-Sam – A Cabaia**, by **Deolinda da Conceição**, the first Macanese female journalist and an author whose writing bears witness, across decades, to the political-cultural instabi...
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| Published in: | Review of Culture |
|---|---|
| Main Author: | |
| Format: | Articles |
| Published: |
Instituto Cultural de Macau
January 2009
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| Subjects: | |
| Online Access: | https://www.icm.gov.mo/rc/viewer/pdfViewerParts/40029/3629 |
| _version_ | 1877196270704001024 |
|---|---|
| author | Gustavo Infante |
| author_autocomplete | Gustavo Infante |
| author_browse | Gustavo Infante |
| author_facet | Gustavo Infante Gustavo Infante |
| author_sort | Gustavo Infante |
| container_title | Review of Culture |
| container_title_str | Review of Culture |
| container_volume | 29 |
| container_volume_str | 29 |
| description | The article analyzes the representation of “static Macao” and “Macao in transition” in the short story collection **Cheong-Sam – A Cabaia**, by **Deolinda da Conceição**, the first Macanese female journalist and an author whose writing bears witness, across decades, to the political-cultural instability of the “Near East”: from the Sino-Japanese turbulence to the experience of exile. Proceeding from the premise that no culture is immutable—rather, it evolves through slow processes—the author redefines “static” as **background** and **scenery** (photography, landscape, and tradition), while “transition” operates as the **narrative engine** of action.
Methodologically, the study focuses on a **localized corpus**: stories in which Macao is explicitly the setting (“O Calvário de Lin Fong”, “Os Sapatinhos Bordados da Anui”, and “Fome”), while also mobilizing narratives with a likelihood of local framing. The reading emphasizes how pictorial descriptions and cultural practices produce a sense of permanence, even as war, social displacement, and historical changes reconfigure characters, memories, and ways of life.
The conclusion is that, in Deolinda’s stories, the city appears less as a “fixed place” than as a **palimpsest**: the static image sustains the contrast with transformation, revealing a Macanese identity constructed between familial continuity and historical rupture. |
| first_indexed | 2026-09-11T02:56:55Z |
| format | Articles |
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| hierarchy_browse | Review of Culture{{{_ID_}}}zotero-coll-76L3BRGH |
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| hierarchy_parent_title | Review of Culture |
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| issn | 1682-1106 |
| last_indexed | 2026-09-11T02:56:55Z |
| latest_content_date | 2026-09-11T02:56:55Z |
| publishDate | January 2009 |
| publishDateRange | 2009 |
| publishDateSort | 2009 |
| publishPlace | Macau |
| publisher | Instituto Cultural de Macau |
| publisherStr | Instituto Cultural de Macau |
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| spelling | STATIC MACAO AND MACAO IN TRANSITION IN THE SHORT STORIES OF A MACANESE WOMAN一位土生葡人女作家筆下的靜態與變遷中的澳門 The article analyzes the representation of “static Macao” and “Macao in transition” in the short story collection **Cheong-Sam – A Cabaia**, by **Deolinda da Conceição**, the first Macanese female journalist and an author whose writing bears witness, across decades, to the political-cultural instability of the “Near East”: from the Sino-Japanese turbulence to the experience of exile. Proceeding from the premise that no culture is immutable—rather, it evolves through slow processes—the author redefines “static” as **background** and **scenery** (photography, landscape, and tradition), while “transition” operates as the **narrative engine** of action. Methodologically, the study focuses on a **localized corpus**: stories in which Macao is explicitly the setting (“O Calvário de Lin Fong”, “Os Sapatinhos Bordados da Anui”, and “Fome”), while also mobilizing narratives with a likelihood of local framing. The reading emphasizes how pictorial descriptions and cultural practices produce a sense of permanence, even as war, social displacement, and historical changes reconfigure characters, memories, and ways of life. The conclusion is that, in Deolinda’s stories, the city appears less as a “fixed place” than as a **palimpsest**: the static image sustains the contrast with transformation, revealing a Macanese identity constructed between familial continuity and historical rupture. Instituto Cultural de Macau Macau Review of Culture Articles January 2009 Gustavo Infante |
| spellingShingle | STATIC MACAO AND MACAO IN TRANSITION IN THE SHORT STORIES OF A MACANESE WOMAN一位土生葡人女作家筆下的靜態與變遷中的澳門 Gustavo Infante |
| title | STATIC MACAO AND MACAO IN TRANSITION IN THE SHORT STORIES OF A MACANESE WOMAN一位土生葡人女作家筆下的靜態與變遷中的澳門 |
| title_autocomplete | STATIC MACAO AND MACAO IN TRANSITION IN THE SHORT STORIES OF A MACANESE WOMAN一位土生葡人女作家筆下的靜態與變遷中的澳門 |
| title_full | STATIC MACAO AND MACAO IN TRANSITION IN THE SHORT STORIES OF A MACANESE WOMAN一位土生葡人女作家筆下的靜態與變遷中的澳門 |
| title_fullStr | STATIC MACAO AND MACAO IN TRANSITION IN THE SHORT STORIES OF A MACANESE WOMAN一位土生葡人女作家筆下的靜態與變遷中的澳門 |
| title_full_unstemmed | STATIC MACAO AND MACAO IN TRANSITION IN THE SHORT STORIES OF A MACANESE WOMAN一位土生葡人女作家筆下的靜態與變遷中的澳門 |
| title_short | STATIC MACAO AND MACAO IN TRANSITION IN THE SHORT STORIES OF A MACANESE WOMAN一位土生葡人女作家筆下的靜態與變遷中的澳門 |
| title_sort | static macao and macao in transition in the short stories of a macanese woman一位土生葡人女作家筆下的靜態與變遷中的澳門 |
| url | https://www.icm.gov.mo/rc/viewer/pdfViewerParts/40029/3629 |
| zotero_collection_key | 76L3BRGH |