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O presente trabalho se propõe a analisar algumas concepções sobre o Oriente, correntes na primeira metade do século XX, que interferiram diretamente na escrita de Camilo Pessanha (1867-1926) sobre a vida chinesa. Morador de Macau por cerca de 26 anos, escreveu alguns poucos textos em prosa que tematizam a cultura e os costumes da China, além de ter tido contato com sinólogos de destaque. Os pareceres de Pessanha sobre o Oriente, bem como o de outros atores importantes, são relevantes na medida em que revelam influências do orientalismo, do exotismo e da sinologia, de maneira a reproduzir ou desafiar certos aspectos da lógica do discurso colonial instaurado em Portugal e aplicado em Macau. Num primeiro momento, o trabalho pretende refletir sobre a atuação de Camilo Pessanha como estudioso da cultura chinesa, prática na qual é confrontado com o seu contemporâneo e colega de trabalho Silva Mendes (1867-1931), também professor no Liceu de Macau. O discurso autorizado europeu que parte da ideia de domìnio sobre povos ditos inferiores seduziu a intelectualidade ocidental, e teve forte repercussão em grande parte dos pareceres de Camilo Pessanha sobre a cultura chinesa. Mostraremos, além dessa vertente, o cotejo que alguns estudiosos da vida do poeta empreendem em relação a uma suposta aproximação com a estética do exotismo. Desenhado este panorama, propomos um esboço do que seria uma nova visão portuguesa sobre Macau, ao cotejarmos o seu passado colonial, explicitado na prática administrativa portuguesa por autores como Oliveira Martins, com as novas possibilidades de compreensão da idiossincrasia macaense, esboçadas a partir de algumas iniciativas de autores como Camilo Pessanha e Silva Mendes. / This study aims at analyzing some conceptions regarding the East, present in the first half of the 20th century, which interfered directly on Camilo Pessanhas (1867-1926) writing about Chinese life. As a resident of Macao for twenty-six years, he wrote a few prose texts about Chinese life and culture, besides being in touch with some very important sinologists such as Silva Mendes (1867-1931) and José Vicente Jorge. Pessanhas remarks on the East, as well as those of other writers, are relevant for they portrait influences from Orientalism, exoticism and sinology in order to reproduce or challenge certain aspects related to the logic of the colonial discourse established in Portugal and applied in Macao. At first, this paper intends to reflect upon Camilo Pessanhas action as a student of Chinese culture, in which he is confronted by his fellow and co-worker Silva Mendes (who was also a teacher at Macaos Lyceum) as well as his pupil Luís Gonzaga Gomes (1907-1976). The European authorized discourse which derives from the idea of dominance of the so-called inferior peoples seduced the Western intellectuality and had a major impact on many of Pessanhas assessments on Chinese culture. Besides this dimension, we will also analyze a possible connection with exoticism, believed to be true by some researchers who studied the poets life. Having set the scene, we propose an outline of what would be a new Portuguese view on Macao, when comparing its colonial past, clarified in the Portuguese administrative practice by authors such as Oliveira Martins, with new possibilities for understanding Macaos idiosyncrasy, derived from some initiatives of writers like Camilo Pessanha and Silva Mendes.

O presente trabalho se propõe a analisar algumas concepções sobre o Oriente, correntes na primeira metade do século XX, que interferiram diretamente na escrita de Camilo Pessanha (1867-1926) sobre a vida chinesa. Morador de Macau por cerca de 26 anos, escreveu alguns poucos textos em prosa que tematizam a cultura e os costumes da China, além de ter tido contato com sinólogos de destaque. Os pareceres de Pessanha sobre o Oriente, bem como o de outros atores importantes, são relevantes na medida em que revelam influências do orientalismo, do exotismo e da sinologia, de maneira a reproduzir ou desafiar certos aspectos da lógica do discurso colonial instaurado em Portugal e aplicado em Macau. Num primeiro momento, o trabalho pretende refletir sobre a atuação de Camilo Pessanha como estudioso da cultura chinesa, prática na qual é confrontado com o seu contemporâneo e colega de trabalho Silva Mendes (1867-1931), também professor no Liceu de Macau. O discurso autorizado europeu que parte da ideia de domìnio sobre povos ditos inferiores seduziu a intelectualidade ocidental, e teve forte repercussão em grande parte dos pareceres de Camilo Pessanha sobre a cultura chinesa. Mostraremos, além dessa vertente, o cotejo que alguns estudiosos da vida do poeta empreendem em relação a uma suposta aproximação com a estética do exotismo. Desenhado este panorama, propomos um esboço do que seria uma nova visão portuguesa sobre Macau, ao cotejarmos o seu passado colonial, explicitado na prática administrativa portuguesa por autores como Oliveira Martins, com as novas possibilidades de compreensão da idiossincrasia macaense, esboçadas a partir de algumas iniciativas de autores como Camilo Pessanha e Silva Mendes. / This study aims at analyzing some conceptions regarding the East, present in the first half of the 20th century, which interfered directly on Camilo Pessanhas (1867-1926) writing about Chinese life. As a resident of Macao for twenty-six years, he wrote a few prose texts about Chinese life and culture, besides being in touch with some very important sinologists such as Silva Mendes (1867-1931) and José Vicente Jorge. Pessanhas remarks on the East, as well as those of other writers, are relevant for they portrait influences from Orientalism, exoticism and sinology in order to reproduce or challenge certain aspects related to the logic of the colonial discourse established in Portugal and applied in Macao. At first, this paper intends to reflect upon Camilo Pessanhas action as a student of Chinese culture, in which he is confronted by his fellow and co-worker Silva Mendes (who was also a teacher at Macaos Lyceum) as well as his pupil Luís Gonzaga Gomes (1907-1976). The European authorized discourse which derives from the idea of dominance of the so-called inferior peoples seduced the Western intellectuality and had a major impact on many of Pessanhas assessments on Chinese culture. Besides this dimension, we will also analyze a possible connection with exoticism, believed to be true by some researchers who studied the poets life. Having set the scene, we propose an outline of what would be a new Portuguese view on Macao, when comparing its colonial past, clarified in the Portuguese administrative practice by authors such as Oliveira Martins, with new possibilities for understanding Macaos idiosyncrasy, derived from some initiatives of writers like Camilo Pessanha and Silva Mendes.

L’évolution des attitudes françaises face à la Chine entre 1949 et le milieu des années 1980 peut être divisée en trois phases. Entre l’établissement de la République populaire de Chine en 1949 et la rupture sino-soviétique au début des années 1960, la Chine est perçue par les observateurs français comme un pays communiste soviétisé, tant sur le plan intérieur que sur le plan diplomatique. L’attitude des Français vis-à-vis de cette Chine traduit leurs positionnements dans les confrontations de la guerre froide. La Chine est considérée selon les différents milieux comme un pilier du mouvement communiste international, une alternative plus humaine au communisme soviétique, ou une menace « jaune et rouge » pour l’Occident. Ensuite, pendant la période qui va de 1963 à la fin de la Révolution culturelle en 1976, la Chine n’est plus perçue comme un membre du camp communiste. La rupture sino-soviétique et la Révolution culturelle donnent naissance à l’idée d’un « modèle chinois », même si elle prend des formes différentes selon les observateurs. Pour les uns, la Chine représente l’espoir de la régénération du communisme ; pour les autres, elle applique un système opposé au monde industrialisé et nullement imitable ailleurs. La troisième phase couvre la période de 1976 au milieu des années 1980, pendant laquelle les rapports des Français à la Chine se normalisent. La passion française pour les relations franco-chinoises s’estompe, et les opinions françaises sur la Chine sont devenues plus lucides. / The evolution of French attitudes towards China between 1949 and the mid-1980s can be divided into three phases. Between the establishment of the People's Republic of China in 1949 and the Sino-Soviet split in the early 1960s, China is perceived by French observers as a Sovietized communist country, both domestically and diplomatically. Attitudes of French people towards this China reflect their positions in the confrontations of the Cold War. China is considered in different spheres as a pillar of the international communist movement, a more humane alternative to Soviet communism, or a "yellow and red" threat to the West. Then, during the period from 1963 to the end of the Cultural Revolution in 1976, China is no longer seen as a member of the communist camp. The Sino-Soviet split and the Cultural Revolution give birth to the idea of a "Chinese model", even if it takes different forms according to different observers. For some, China represents the hope of the regeneration of communism; for the others, it applies a system opposed to the industrialized world and not at all imitated elsewhere. The third phase covers the period from 1976 to the mid-1980s, during which the relations between French people and China normalize. France's passion for Franco-Chinese relationship is fading, and French views on China became more lucid.

A proposta deste trabalho é examinar a tradução dos Clássicos Chineses realizada pelo missionário português Joaquim A. de Jesus Guerra S.J. (1908-1993). Nossos objetivos principais serão: a) caracterizar as diferentes posições no debate entre Joaquim Guerra e James Legge (eminente missionário e sinólogo escocês do séc. XIX) quanto a interpretação do confucionismo; b) elucidar, do ponto de vista da sinologia, aspectos decisivos da tradução de Joaquim Guerra, em particular a tradução do caracter Tian [] como \"Deus\" a qual se abre como chave hermenêutica para a interpretação universalizante do tradutor português. / The purpose of this work is to examine the translation of the Chinese Classics conducted by the Portuguese missionary Joaquim A. de Jesus Guerra S.J. (1908-1993). Our main objectives are: a) to characterize the different positions in the debate between Joaquim Guerra and James Legge (eminent Scottish missionary and sinologist of nineteenth century) regarding the interpretation of Confucianism; b) to clarify, from the point of view of sinology, key aspects of the translation of Joaquim Guerra, in particular the translation of the character Tian [] as \"God\" which unfolds as a hermeneutical key for the universalizing interpretation of the Portuguese translator.

« Je sais très bien à quel point les Chinois, en tant que nation comme en tant qu’individus, sont actuellement dans la réalisation de l’idéal le plus élevé de leur civilisation. Néanmoins, en regardant l’état actuel des choses démoralisant en Chine, si on prend la peine d’interpréter et d’examiner les faits, je pense qu’il est juste de dire ici qu’on ne peut pas considérer cette civilisation comme un échec. Si vous jugez une civilisation aux modes de divertissement de l’homme moyen, la civilisation chinoise est effectivement un échec. Mais si vous la jugez à l’aune de la force et au sens de l’obligation morale qui incombe à la nation alors je pense que l’on peut affirmer que la civilisation chinoise loin d’être un échec est au contraire une merveilleuse réussite. » / “I am well aware how very far the Chinese as a nation and as individuals are at present from the realisation of the high ideal of their civilisation. But at the same time I think it right to say here that even now, looking upon the present demoralised state of things in China, the Chinese civilisation, if one would take the trouble to interpret and look into the inside of facts, cannot be considered a failure. If you judge a civilisation by the extent to which men of means living under that civilisation can enjoy themselves, the Chinese civilisation in certainly a failure. But if you judge a civilisation by the standard of strength and effectiveness of the sense of moral obligation in the nation living under that civilisation, then I think I can show that the Chinese civilisation even now is not a failure, but, on the contrary, a wonderful success.”

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A proposta deste trabalho é examinar a tradução dos Clássicos Chineses realizada pelo missionário português Joaquim A. de Jesus Guerra S.J. (1908-1993). Nossos objetivos principais serão: a) caracterizar as diferentes posições no debate entre Joaquim Guerra e James Legge (eminente missionário e sinólogo escocês do séc. XIX) quanto a interpretação do confucionismo; b) elucidar, do ponto de vista da sinologia, aspectos decisivos da tradução de Joaquim Guerra, em particular a tradução do caracter Tian [] como \"Deus\" a qual se abre como chave hermenêutica para a interpretação universalizante do tradutor português. / The purpose of this work is to examine the translation of the Chinese Classics conducted by the Portuguese missionary Joaquim A. de Jesus Guerra S.J. (1908-1993). Our main objectives are: a) to characterize the different positions in the debate between Joaquim Guerra and James Legge (eminent Scottish missionary and sinologist of nineteenth century) regarding the interpretation of Confucianism; b) to clarify, from the point of view of sinology, key aspects of the translation of Joaquim Guerra, in particular the translation of the character Tian [] as \"God\" which unfolds as a hermeneutical key for the universalizing interpretation of the Portuguese translator.

L’objectif de la thèse est d’étudier Louis Laloy (1874-1944), ses activités et son influence sur les compositeurs français inspirés par la civilisation chinoise entre 1900 et 1940. Musicologue, librettiste et compositeur, Louis Laloy fut à la fois grand promoteur de la musique de Claude Debussy, critique musical prolifique, secrétaire général de l’Opéra de Paris et professeur d’esthétique chinoise à l’Institut des Hautes Études Chinoises et d’histoire de la musique au Conservatoire de musique de Paris. Il est cependant peu connu du grand public, malgré ses participations actives et diverses au milieu musical et artistique. En outre, en lisant son Miroir de la Chine, nous apprenons qu’il a entretenu des relations avec des personnalités chinoises et a participé aux événements significatifs et à la fois inédits dans l’histoire des relations culturelles franco-chinoises. Fort de ces premiers éléments, notre travail se propose d’aborder trois aspects : la personnalité de Louis Laloy, les relations franco-chinoises à travers les engagements de Louis Laloy et l’analyse des écrits sur la musique chinoise ainsi que des œuvres musicales d’inspiration chinoise entre 1900 et 1940. La problématique de notre sujet est d’éclaircir le rapprochement entre la théorie musicale et la production musicale, c’est-à-dire, de donner un sens aux liens entre les écrits et les processus créatifs compositionnels. Par ailleurs, l’analyse des fondements théoriques et de l’esthétique chinoise permettra d’engager une réflexion plus générale sur les stratégies du langage musical dans les œuvres dites « à la chinoise », produits d’une délicate alchimie opérée entre techniques occidentales et conceptions artistiques chinoises. / The main objective of this thesis is to study Louis Laloy (1874-1944), his activities and his influence on French composers who were inspired by the Chinese civilization between 1900 and 1940. Musicologist, librettist and composer, Louis Laloy was a great promoter of Claude Debussy’s music, a prolific critic, the Secretary-general of the Opera de Paris, the professor of Chinese aesthetics at the Institute of Advanced Chinese Studies and the professor of the history of music at the Paris Conservatory. He is, however, little known to the general public despite of his active and diverse participations in the musical and artistic environment. In addition, by reading his writing “Mirror of China”, we learn that he has maintained relations with Chinese personages and has participated in novel and significant events in the history of cultural relations French-Chinese. By virtue of these interesting elements, our work proposes to address three aspects: the personality of Louis Laloy, the cultural relationship between the France and China through the Louis Laloy’s commitments, and the analysis of the writings on Chinese music and of the compositions filled with Chinese inspiration between 1900 and 1940. Our topic is to clarify the rapprochement between the musical theory and the musical production, i.e. to suggest the links between writings and creative processes. Furthermore, the analysis of the theories and Chinese aesthetics will allow engaging a broader reflection on the strategies of musical language in the works so-called "in Chinese", which are the delicate alchemies produced by the Western techniques and Chinese artistic conception.