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27/08/2020
SOFIA VALE
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Covid-19,
o momento para corrigir a
distribuição de rendimentos
Urge inverter o processo de desigualdade que se acentuou na sociedade portuguesa com a crise financeira anterior e que dificulta a sua atual capacidade de retoma.
𝙰 𝚌𝚛𝚒𝚜𝚎 𝚎𝚌𝚘𝚗𝚘́𝚖𝚒𝚌𝚊 𝚐𝚎𝚛𝚊𝚍𝚊 𝚙𝚎𝚕𝚊 𝙲𝚘𝚟𝚒𝚍-𝟷𝟿 𝚎́ 𝚓𝚊́ 𝚎𝚗𝚌𝚊𝚛𝚊𝚍𝚊 𝚌𝚘𝚖𝚘 𝚊 𝚖𝚊𝚒𝚜 𝚐𝚛𝚊𝚟𝚎 𝚍𝚎𝚜𝚍𝚎 𝚊 𝙶𝚛𝚊𝚗𝚍𝚎 𝙳𝚎𝚙𝚛𝚎𝚜𝚜𝚊̃𝚘 𝚍𝚊 𝚍𝚎́𝚌𝚊𝚍𝚊 𝚍𝚎 𝟷𝟿𝟹𝟶, 𝚙𝚛𝚎𝚟𝚎𝚗𝚍𝚘-𝚜𝚎 𝚚𝚞𝚎𝚋𝚛𝚊𝚜 𝚒𝚗𝚎́𝚍𝚒𝚝𝚊𝚜 𝚙𝚊𝚛𝚊 𝚊 𝚙𝚛𝚘𝚍𝚞𝚌̧𝚊̃𝚘 𝚎 𝚘 𝚎𝚖𝚙𝚛𝚎𝚐𝚘 𝚎 𝚜𝚎𝚗𝚍𝚘 𝚍𝚒𝚏𝚒́𝚌𝚒𝚕 𝚙𝚎𝚛𝚜𝚙𝚎𝚝𝚒𝚟𝚊𝚛 𝚞𝚖 𝚍𝚎𝚜𝚏𝚎𝚌𝚑𝚘, 𝚙𝚎𝚕𝚊 𝚒𝚗𝚌𝚎𝚛𝚝𝚎𝚣𝚊 𝚊𝚜𝚜𝚘𝚌𝚒𝚊𝚍𝚊 𝚊̀ 𝚎𝚟𝚘𝚕𝚞𝚌̧𝚊̃𝚘 𝚍𝚊 𝚙𝚊𝚗𝚍𝚎𝚖𝚒𝚊 𝚎 𝚊𝚘𝚜 𝚎𝚏𝚎𝚒𝚝𝚘𝚜 𝚍𝚊𝚜 𝚙𝚘𝚕𝚒́𝚝𝚒𝚌𝚊𝚜 𝚚𝚞𝚎 𝚟𝚒𝚎𝚛𝚎𝚖 𝚊 𝚜𝚎𝚛 𝚊𝚍𝚘𝚝𝚊𝚍𝚊𝚜. 𝙿𝚊𝚛𝚊 𝚊 𝚎𝚌𝚘𝚗𝚘𝚖𝚒𝚊 𝚙𝚘𝚛𝚝𝚞𝚐𝚞𝚎𝚜𝚊, 𝚊𝚗𝚝𝚎𝚌𝚒𝚙𝚊-𝚜𝚎 𝚞𝚖𝚊 𝚚𝚞𝚎𝚋𝚛𝚊 𝚜𝚞𝚙𝚎𝚛𝚒𝚘𝚛 𝚊̀ 𝚍𝚘𝚜 𝚙𝚊𝚛𝚌𝚎𝚒𝚛𝚘𝚜 𝚍𝚊 𝚄𝚗𝚒𝚊̃𝚘 𝙴𝚞𝚛𝚘𝚙𝚎𝚒𝚊, 𝚊𝚗𝚝𝚎𝚟𝚎𝚗𝚍𝚘-𝚜𝚎 𝚞𝚖𝚊 𝚛𝚎𝚌𝚞𝚙𝚎𝚛𝚊𝚌̧𝚊̃𝚘 𝚖𝚊𝚒𝚜 𝚍𝚒𝚏𝚒́𝚌𝚒𝚕 𝚎 𝚕𝚘𝚗𝚐𝚊.
𝙾 𝚜𝚎𝚞 𝚕𝚊𝚍𝚘 𝚟𝚒𝚜𝚒́𝚟𝚎𝚕 𝚎́ 𝚘 𝚎𝚗𝚌𝚎𝚛𝚛𝚊𝚖𝚎𝚗𝚝𝚘 𝚍𝚎 𝚎𝚖𝚙𝚛𝚎𝚜𝚊𝚜, 𝚍𝚎𝚜𝚝𝚛𝚞𝚒𝚌̧𝚊̃𝚘 𝚍𝚎 𝚙𝚘𝚜𝚝𝚘𝚜 𝚍𝚎 𝚝𝚛𝚊𝚋𝚊𝚕𝚑𝚘, 𝚊𝚞𝚖𝚎𝚗𝚝𝚘 𝚍𝚊 𝚙𝚛𝚎𝚌𝚊𝚛𝚒𝚎𝚍𝚊𝚍𝚎, 𝚒𝚗𝚌𝚞𝚖𝚙𝚛𝚒𝚖𝚎𝚗𝚝𝚘 𝚋𝚊𝚗𝚌𝚊́𝚛𝚒𝚘, 𝚒𝚗𝚜𝚎𝚐𝚞𝚛𝚊𝚗𝚌̧𝚊, 𝚎𝚗𝚝𝚛𝚎 𝚘𝚞𝚝𝚛𝚘𝚜. 𝚄𝚖 𝚕𝚊𝚍𝚘 𝚙𝚛𝚘𝚐𝚛𝚎𝚜𝚜𝚒𝚟𝚊𝚖𝚎𝚗𝚝𝚎 𝚖𝚊𝚒𝚜 𝚎𝚟𝚒𝚍𝚎𝚗𝚝𝚎, 𝚎́ 𝚘 𝚎𝚏𝚎𝚒𝚝𝚘 𝚚𝚞𝚎 𝚊𝚜 𝚌𝚛𝚒𝚜𝚎𝚜, 𝚎 𝚎𝚜𝚝𝚊 𝚎𝚖 𝚙𝚊𝚛𝚝𝚒𝚌𝚞𝚕𝚊𝚛, 𝚙𝚛𝚘𝚍𝚞𝚣𝚎𝚖 𝚜𝚘𝚋𝚛𝚎 𝚊 𝚍𝚒𝚜𝚝𝚛𝚒𝚋𝚞𝚒𝚌̧𝚊̃𝚘 𝚍𝚘 𝚛𝚎𝚗𝚍𝚒𝚖𝚎𝚗𝚝𝚘 𝚎 𝚍𝚊 𝚛𝚒𝚚𝚞𝚎𝚣𝚊, 𝚗𝚘𝚖𝚎𝚊𝚍𝚊𝚖𝚎𝚗𝚝𝚎 𝚗𝚊𝚜 𝚎𝚌𝚘𝚗𝚘𝚖𝚒𝚊𝚜 𝚍𝚒𝚝𝚊𝚜 𝚍𝚎𝚜𝚎𝚗𝚟𝚘𝚕𝚟𝚒𝚍𝚊𝚜. 𝙰𝚘 𝚌𝚘𝚗𝚝𝚛𝚊́𝚛𝚒𝚘 𝚍𝚊 𝚒𝚍𝚎𝚒𝚊 𝚍𝚎𝚏𝚎𝚗𝚍𝚒𝚍𝚊 𝚙𝚘𝚛 𝙺𝚞𝚣𝚗𝚎𝚝𝚜 𝚍𝚎 𝚚𝚞𝚎 𝚊 𝚍𝚎𝚜𝚒𝚐𝚞𝚊𝚕𝚍𝚊𝚍𝚎 𝚝𝚎𝚗𝚍𝚎𝚛𝚒𝚊 𝚊 𝚍𝚒𝚖𝚒𝚗𝚞𝚒𝚛 𝚎𝚖 𝚎𝚜𝚝𝚊́𝚐𝚒𝚘𝚜 𝚍𝚎 𝚍𝚎𝚜𝚎𝚗𝚟𝚘𝚕𝚟𝚒𝚖𝚎𝚗𝚝𝚘 𝚖𝚊𝚒𝚜 𝚊𝚟𝚊𝚗𝚌̧𝚊𝚍𝚘, 𝚊𝚞𝚝𝚘𝚛𝚎𝚜 𝚛𝚎𝚌𝚎𝚗𝚝𝚎𝚜, 𝚌𝚘𝚖𝚘 𝙿𝚒𝚔𝚎𝚝𝚝𝚢, 𝚝𝚎̂𝚖 𝚝𝚘𝚛𝚗𝚊𝚍𝚘 𝚎𝚟𝚒𝚍𝚎𝚗𝚝𝚎 𝚚𝚞𝚎 𝚘 𝚍𝚎𝚜𝚎𝚗𝚟𝚘𝚕𝚟𝚒𝚖𝚎𝚗𝚝𝚘 𝚍𝚘 𝚜𝚒𝚜𝚝𝚎𝚖𝚊 𝚎𝚌𝚘𝚗𝚘́𝚖𝚒𝚌𝚘 𝚊𝚌𝚎𝚗𝚝𝚞𝚊 𝚊𝚜 𝚍𝚒𝚟𝚎𝚛𝚐𝚎̂𝚗𝚌𝚒𝚊𝚜 𝚗𝚊 𝚍𝚒𝚜𝚝𝚛𝚒𝚋𝚞𝚒𝚌̧𝚊̃𝚘 𝚍𝚘 𝚛𝚎𝚗𝚍𝚒𝚖𝚎𝚗𝚝𝚘 𝚎 𝚍𝚊 𝚛𝚒𝚚𝚞𝚎𝚣𝚊.
𝙰 𝚌𝚘𝚛𝚛𝚘𝚋𝚘𝚛𝚊́-𝚕𝚘, 𝚘𝚜 𝚞́𝚕𝚝𝚒𝚖𝚘𝚜 𝚍𝚊𝚍𝚘𝚜 𝚌𝚘𝚕𝚘𝚌𝚊𝚟𝚊𝚖 𝚊 𝚎𝚌𝚘𝚗𝚘𝚖𝚒𝚊 𝚙𝚘𝚛𝚝𝚞𝚐𝚞𝚎𝚜𝚊 𝚌𝚘𝚖𝚘 𝚞𝚖𝚊 𝚍𝚊𝚜 𝚖𝚊𝚒𝚜 𝚍𝚎𝚜𝚒𝚐𝚞𝚊𝚒𝚜 𝚍𝚎 𝚎𝚗𝚝𝚛𝚎 𝚘𝚜 𝚙𝚊𝚒́𝚜𝚎𝚜 𝚍𝚊 𝚄𝚗𝚒𝚊̃𝚘 𝙴𝚞𝚛𝚘𝚙𝚎𝚒𝚊, 𝚊𝚗𝚝𝚎𝚜 𝚍𝚘 𝚍𝚎𝚜𝚎𝚗𝚌𝚊𝚍𝚎𝚊𝚛 𝚍𝚊 𝚙𝚊𝚗𝚍𝚎𝚖𝚒𝚊. 𝙰 𝚍𝚎𝚜𝚒𝚐𝚞𝚊𝚕𝚍𝚊𝚍𝚎 𝚗𝚊 𝚍𝚒𝚜𝚝𝚛𝚒𝚋𝚞𝚒𝚌̧𝚊̃𝚘 𝚍𝚘 𝚛𝚎𝚗𝚍𝚒𝚖𝚎𝚗𝚝𝚘 𝚎𝚡𝚙𝚕𝚒𝚌𝚊 𝚘 𝚋𝚊𝚒𝚡𝚘 𝚛𝚎𝚗𝚍𝚒𝚖𝚎𝚗𝚝𝚘 𝚖𝚎𝚍𝚒𝚊𝚗𝚘 𝚍𝚊𝚜 𝚏𝚊𝚖𝚒́𝚕𝚒𝚊𝚜 𝚙𝚘𝚛𝚝𝚞𝚐𝚞𝚎𝚜𝚊𝚜 (𝚌𝚎𝚛𝚌𝚊 𝚍𝚎 𝟿𝟹𝟶 𝚎𝚞𝚛𝚘𝚜 𝚙𝚘𝚛 𝚖𝚎̂𝚜 𝚎𝚖 𝟸𝟶𝟷𝟽) 𝚎 𝚝𝚎𝚖-𝚜𝚎 𝚛𝚎𝚙𝚎𝚛𝚌𝚞𝚝𝚒𝚍𝚘 𝚗𝚘 𝚏𝚛𝚊𝚌𝚘 𝚍𝚒𝚗𝚊𝚖𝚒𝚜𝚖𝚘 𝚍𝚊 𝚙𝚛𝚘𝚌𝚞𝚛𝚊 𝚒𝚗𝚝𝚎𝚛𝚗𝚊 𝚎𝚖 𝙿𝚘𝚛𝚝𝚞𝚐𝚊𝚕. 𝙴́ 𝚊𝚒𝚗𝚍𝚊 𝚟𝚒𝚜𝚒́𝚟𝚎𝚕 𝚗𝚊 𝚎𝚜𝚝𝚊𝚐𝚗𝚊𝚌̧𝚊̃𝚘 𝚍𝚘𝚜 𝚜𝚊𝚕𝚊́𝚛𝚒𝚘𝚜 𝚖𝚎́𝚍𝚒𝚘𝚜, 𝚎𝚜𝚙𝚎𝚌𝚒𝚊𝚕𝚖𝚎𝚗𝚝𝚎 𝚜𝚎𝚗𝚝𝚒𝚍𝚊 𝚗𝚊 𝚞́𝚕𝚝𝚒𝚖𝚊 𝚍𝚎́𝚌𝚊𝚍𝚊, 𝚚𝚞𝚎 𝚐𝚎𝚛𝚊 𝚍𝚒𝚗𝚊̂𝚖𝚒𝚌𝚊𝚜 𝚌𝚘𝚖𝚙𝚛𝚘𝚖𝚎𝚝𝚎𝚍𝚘𝚛𝚊𝚜 𝚍𝚊 𝚛𝚎𝚌𝚞𝚙𝚎𝚛𝚊𝚌̧𝚊̃𝚘 𝚍𝚊 𝚎𝚌𝚘𝚗𝚘𝚖𝚒𝚊.
𝙰 𝚍𝚎𝚜𝚒𝚐𝚞𝚊𝚕𝚍𝚊𝚍𝚎 𝚝𝚎𝚖 𝚛𝚎𝚜𝚞𝚕𝚝𝚊𝚍𝚘 𝚎𝚖 𝚙𝚛𝚘𝚋𝚕𝚎𝚖𝚊𝚜 𝚚𝚞𝚎 𝚛𝚎𝚚𝚞𝚎𝚛𝚎𝚖 𝚜𝚘𝚕𝚞𝚌̧𝚊̃𝚘 𝚞𝚛𝚐𝚎𝚗𝚝𝚎.
𝙴𝚖 𝚙𝚛𝚒𝚖𝚎𝚒𝚛𝚘 𝚕𝚞𝚐𝚊𝚛, 𝚊𝚞𝚖𝚎𝚗𝚝𝚊 𝚊 𝚙𝚎𝚛𝚌𝚎𝚗𝚝𝚊𝚐𝚎𝚖 𝚍𝚊 𝚙𝚘𝚙𝚞𝚕𝚊𝚌̧𝚊̃𝚘 𝚚𝚞𝚎 𝚜𝚎 𝚎𝚗𝚌𝚘𝚗𝚝𝚛𝚊 𝚎𝚖 𝚛𝚒𝚜𝚌𝚘 𝚍𝚎 𝚙𝚘𝚋𝚛𝚎𝚣𝚊 𝚘𝚞 𝚎𝚡𝚌𝚕𝚞𝚜𝚊̃𝚘 𝚜𝚘𝚌𝚒𝚊𝚕.
𝚂𝚎𝚐𝚞𝚗𝚍𝚘, 𝚝𝚎𝚖 𝚙𝚛𝚘𝚖𝚘𝚟𝚒𝚍𝚘 𝚊 𝚖𝚒𝚐𝚛𝚊𝚌̧𝚊̃𝚘 𝚍𝚎 𝚙𝚘𝚙𝚞𝚕𝚊𝚌̧𝚊̃𝚘 𝚓𝚘𝚟𝚎𝚖 𝚊̀ 𝚙𝚛𝚘𝚌𝚞𝚛𝚊 𝚍𝚎 𝚖𝚎𝚕𝚑𝚘𝚛𝚎𝚜 𝚛𝚎𝚖𝚞𝚗𝚎𝚛𝚊𝚌̧𝚘̃𝚎𝚜 𝚗𝚘 𝚎𝚜𝚙𝚊𝚌̧𝚘 𝚂𝚌𝚑𝚎𝚗𝚐𝚎𝚗, 𝚑𝚒𝚙𝚘𝚝𝚎𝚌𝚊𝚗𝚍𝚘 𝚘 𝚗𝚒́𝚟𝚎𝚕 𝚏𝚞𝚝𝚞𝚛𝚘 𝚍𝚎 𝚚𝚞𝚊𝚕𝚒𝚏𝚒𝚌𝚊𝚌̧𝚘̃𝚎𝚜 𝚎 𝚊 𝚌𝚊𝚙𝚊𝚌𝚒𝚍𝚊𝚍𝚎 𝚍𝚎 𝚒𝚗𝚘𝚟𝚊𝚌̧𝚊̃𝚘 𝚎 𝚛𝚎𝚗𝚘𝚟𝚊𝚌̧𝚊̃𝚘. 𝙽𝚊 𝚞́𝚕𝚝𝚒𝚖𝚊 𝚌𝚛𝚒𝚜𝚎, 𝚏𝚘𝚒 𝚎𝚟𝚒𝚍𝚎𝚗𝚝𝚎 𝚊 𝚏𝚞𝚐𝚊 𝚍𝚎 𝚌𝚎́𝚛𝚎𝚋𝚛𝚘𝚜 𝚕𝚒𝚐𝚊𝚍𝚘𝚜 𝚊𝚘 𝚜𝚎𝚌𝚝𝚘𝚛 𝚍𝚊 𝚂𝚊𝚞́𝚍𝚎, 𝚑𝚘𝚓𝚎 𝚝𝚊̃𝚘 𝚍𝚎𝚌𝚒𝚜𝚒𝚟𝚘𝚜 𝚗𝚊 𝚛𝚎𝚜𝚘𝚕𝚞𝚌̧𝚊̃𝚘 𝚍𝚊 𝚙𝚊𝚗𝚍𝚎𝚖𝚒𝚊.
𝙲𝚘𝚖𝚘 𝚊𝚐𝚛𝚊𝚟𝚊𝚗𝚝𝚎, 𝚎𝚜𝚝𝚎 𝚎̂𝚡𝚘𝚍𝚘 𝚍𝚎𝚜𝚎𝚚𝚞𝚒𝚕𝚒𝚋𝚛𝚊 𝚘 𝚜𝚒𝚜𝚝𝚎𝚖𝚊 𝚍𝚎 𝚜𝚎𝚐𝚞𝚛𝚊𝚗𝚌̧𝚊 𝚜𝚘𝚌𝚒𝚊𝚕 𝚓𝚊́ 𝚍𝚎 𝚜𝚒 𝚏𝚛𝚊́𝚐𝚒𝚕, 𝚊𝚘 𝚍𝚒𝚖𝚒𝚗𝚞𝚒𝚛 𝚊 𝚙𝚎𝚛𝚌𝚎𝚗𝚝𝚊𝚐𝚎𝚖 𝚍𝚎 𝚙𝚘𝚙𝚞𝚕𝚊𝚌̧𝚊̃𝚘 𝚓𝚘𝚟𝚎𝚖 𝚎 𝚍𝚎 𝚛𝚎𝚗𝚍𝚒𝚖𝚎𝚗𝚝𝚘 𝚛𝚎𝚕𝚊𝚝𝚒𝚟𝚊𝚖𝚎𝚗𝚝𝚎 𝚖𝚊𝚒𝚜 𝚎𝚕𝚎𝚟𝚊𝚍𝚘 𝚗𝚘 𝚊𝚝𝚒𝚟𝚘, 𝚎𝚗𝚚𝚞𝚊𝚗𝚝𝚘 𝚙𝚎𝚛𝚙𝚎𝚝𝚞𝚊 𝚍𝚎𝚜𝚎𝚚𝚞𝚒𝚕𝚒́𝚋𝚛𝚒𝚘𝚜 𝚍𝚎𝚖𝚘𝚐𝚛𝚊́𝚏𝚒𝚌𝚘𝚜 𝚙𝚎𝚕𝚊 𝚛𝚎𝚍𝚞𝚌̧𝚊̃𝚘 𝚍𝚊 𝚙𝚘𝚙𝚞𝚕𝚊𝚌̧𝚊̃𝚘 𝚎𝚖 𝚒𝚍𝚊𝚍𝚎 𝚏𝚎́𝚛𝚝𝚒𝚕.
𝙴𝚖 𝚝𝚎𝚛𝚌𝚎𝚒𝚛𝚘 𝚕𝚞𝚐𝚊𝚛, 𝚝𝚎𝚖 𝚏𝚘𝚖𝚎𝚗𝚝𝚊𝚍𝚘 𝚊 𝚌𝚕𝚒𝚟𝚊𝚐𝚎𝚖 𝚎𝚗𝚝𝚛𝚎 𝚐𝚎𝚛𝚊𝚌̧𝚘̃𝚎𝚜, 𝚘𝚗𝚍𝚎 𝚘𝚜 𝚖𝚊𝚒𝚜 𝚟𝚎𝚕𝚑𝚘𝚜 𝚜𝚎 𝚝𝚘𝚛𝚗𝚊𝚖 𝚘 𝚋𝚘𝚍𝚎 𝚎𝚡𝚙𝚒𝚊𝚝𝚘́𝚛𝚒𝚘 𝚍𝚊 𝚒𝚗𝚎𝚡𝚒𝚜𝚝𝚎̂𝚗𝚌𝚒𝚊 𝚍𝚎 𝚎𝚖𝚙𝚛𝚎𝚐𝚘 𝚓𝚘𝚟𝚎𝚖, 𝚚𝚞𝚎𝚜𝚝𝚒𝚘𝚗𝚊𝚗𝚍𝚘-𝚜𝚎 𝚘𝚜 𝚜𝚎𝚞𝚜 “𝚍𝚒𝚛𝚎𝚒𝚝𝚘𝚜 𝚊𝚍𝚚𝚞𝚒𝚛𝚒𝚍𝚘𝚜”. 𝙿𝚊𝚛𝚊𝚍𝚘𝚡𝚊𝚕𝚖𝚎𝚗𝚝𝚎, 𝚘𝚜 𝚙𝚛𝚒𝚖𝚎𝚒𝚛𝚘𝚜 𝚟𝚊̃𝚘 𝚜𝚎𝚗𝚍𝚘 𝚊𝚗𝚝𝚎𝚌𝚒𝚙𝚊𝚍𝚊𝚖𝚎𝚗𝚝𝚎 𝚜𝚞𝚋𝚜𝚝𝚒𝚝𝚞𝚒́𝚍𝚘𝚜 𝚙𝚘𝚛 𝚛𝚎𝚌𝚎́𝚖-𝚕𝚒𝚌𝚎𝚗𝚌𝚒𝚊𝚍𝚘𝚜 𝚚𝚞𝚎 𝚊𝚞𝚏𝚎𝚛𝚎𝚖 𝚜𝚊𝚕𝚊́𝚛𝚒𝚘𝚜 𝚙𝚛𝚘́𝚡𝚒𝚖𝚘𝚜 𝚍𝚘 𝚜𝚊𝚕𝚊́𝚛𝚒𝚘 𝚖𝚒́𝚗𝚒𝚖𝚘, 𝚗𝚞𝚖 𝚙𝚛𝚘𝚌𝚎𝚜𝚜𝚘 𝚍𝚎 𝚋𝚊𝚛𝚊𝚝𝚎𝚊𝚖𝚎𝚗𝚝𝚘 𝚍𝚘𝚜 𝚌𝚞𝚜𝚝𝚘𝚜 𝚙𝚛𝚘𝚍𝚞𝚝𝚒𝚟𝚘𝚜 𝚊𝚝𝚛𝚊𝚟𝚎́𝚜 𝚍𝚎 𝚜𝚞𝚋𝚜𝚝𝚒𝚝𝚞𝚒𝚌̧𝚊̃𝚘 𝚍𝚎 𝚖𝚊̃𝚘 𝚍𝚎 𝚘𝚋𝚛𝚊 𝚚𝚞𝚊𝚕𝚒𝚏𝚒𝚌𝚊𝚍𝚊.
𝙿𝚘𝚛 𝚞́𝚕𝚝𝚒𝚖𝚘, 𝚌𝚘𝚗𝚝𝚛𝚒𝚋𝚞𝚒 𝚙𝚊𝚛𝚊 𝚊 𝚎𝚖𝚎𝚛𝚐𝚎̂𝚗𝚌𝚒𝚊 𝚍𝚎 𝚝𝚎𝚗𝚜𝚊̃𝚘 𝚜𝚘𝚌𝚒𝚊𝚕 𝚎 𝚍𝚎 𝚌𝚘𝚛𝚛𝚎𝚗𝚝𝚎𝚜 𝚙𝚘𝚕𝚒́𝚝𝚒𝚌𝚊𝚜 𝚍𝚎 𝚌𝚊𝚛𝚒𝚣 𝚙𝚘𝚙𝚞𝚕𝚒𝚜𝚝𝚊 𝚚𝚞𝚎 𝚎𝚡𝚙𝚕𝚘𝚛𝚊𝚖 𝚊𝚜 𝚖𝚊𝚗𝚒𝚏𝚎𝚜𝚝𝚊𝚌̧𝚘̃𝚎𝚜 𝚊𝚗𝚝𝚎𝚛𝚒𝚘𝚛𝚎𝚜.
𝚄𝚛𝚐𝚎 𝚒𝚗𝚟𝚎𝚛𝚝𝚎𝚛 𝚘 𝚙𝚛𝚘𝚌𝚎𝚜𝚜𝚘 𝚍𝚎 𝚍𝚎𝚜𝚒𝚐𝚞𝚊𝚕𝚍𝚊𝚍𝚎 𝚚𝚞𝚎 𝚜𝚎 𝚊𝚌𝚎𝚗𝚝𝚞𝚘𝚞 𝚗𝚊 𝚜𝚘𝚌𝚒𝚎𝚍𝚊𝚍𝚎 𝚙𝚘𝚛𝚝𝚞𝚐𝚞𝚎𝚜𝚊 𝚌𝚘𝚖 𝚊 𝚌𝚛𝚒𝚜𝚎 𝚏𝚒𝚗𝚊𝚗𝚌𝚎𝚒𝚛𝚊 𝚊𝚗𝚝𝚎𝚛𝚒𝚘𝚛 𝚎 𝚚𝚞𝚎 𝚍𝚒𝚏𝚒𝚌𝚞𝚕𝚝𝚊 𝚊 𝚜𝚞𝚊 𝚊𝚝𝚞𝚊𝚕 𝚌𝚊𝚙𝚊𝚌𝚒𝚍𝚊𝚍𝚎 𝚍𝚎 𝚛𝚎𝚝𝚘𝚖𝚊, 𝚛𝚎𝚙𝚛𝚎𝚜𝚎𝚗𝚝𝚊𝚗𝚍𝚘 𝚎𝚜𝚝𝚊 𝚌𝚛𝚒𝚜𝚎 𝚘 𝚖𝚘𝚖𝚎𝚗𝚝𝚘 𝚌𝚎𝚛𝚝𝚘 𝚙𝚊𝚛𝚊 𝚏𝚊𝚣𝚎̂-𝚕𝚘.
𝙰𝚜 𝚌𝚛𝚒𝚜𝚎𝚜 𝚜𝚊̃𝚘 𝚜𝚒𝚝𝚞𝚊𝚌̧𝚘̃𝚎𝚜 𝚍𝚎 𝚛𝚞𝚝𝚞𝚛𝚊, 𝚚𝚞𝚎 𝚏𝚘𝚛𝚌̧𝚊𝚖 𝚊𝚜 𝚎𝚌𝚘𝚗𝚘𝚖𝚒𝚊𝚜 𝚊̀ 𝚜𝚞𝚊 𝚛𝚎𝚒𝚗𝚟𝚎𝚗𝚌̧𝚊̃𝚘, 𝚎 𝚘𝚗𝚍𝚎 𝚊 𝚖𝚞𝚍𝚊𝚗𝚌̧𝚊 𝚏𝚘𝚛𝚌̧𝚊𝚍𝚊 𝚙𝚘𝚍𝚎 𝚛𝚎𝚙𝚛𝚎𝚜𝚎𝚗𝚝𝚊𝚛 𝚞𝚖𝚊 𝚘𝚙𝚘𝚛𝚝𝚞𝚗𝚒𝚍𝚊𝚍𝚎 𝚙𝚊𝚛𝚊 𝚌𝚘𝚛𝚛𝚒𝚐𝚒𝚛 𝚙𝚛𝚘𝚋𝚕𝚎𝚖𝚊𝚜 𝚎𝚜𝚝𝚛𝚞𝚝𝚞𝚛𝚊𝚒𝚜. 𝙽𝚎𝚜𝚝𝚎 𝚜𝚎𝚗𝚝𝚒𝚍𝚘, 𝚊 𝚛𝚎𝚝𝚘𝚖𝚊 𝚎𝚌𝚘𝚗𝚘́𝚖𝚒𝚌𝚊 𝚍𝚎𝚟𝚎𝚛𝚊́ 𝚛𝚎𝚜𝚙𝚘𝚗𝚍𝚎𝚛 𝚊 𝚞𝚖 𝚍𝚞𝚙𝚕𝚘 𝚍𝚎𝚜𝚊𝚏𝚒𝚘. 𝙿𝚘𝚛 𝚞𝚖 𝚕𝚊𝚍𝚘, 𝚛𝚎𝚌𝚞𝚙𝚎𝚛𝚊𝚛 𝚞𝚖 𝚙𝚛𝚘𝚌𝚎𝚜𝚜𝚘 𝚍𝚎 𝚌𝚛𝚎𝚜𝚌𝚒𝚖𝚎𝚗𝚝𝚘 𝚜𝚞𝚜𝚝𝚎𝚗𝚝𝚊𝚍𝚘 𝚚𝚞𝚎 𝚙𝚎𝚛𝚖𝚒𝚝𝚊 𝚛𝚎𝚙𝚘𝚛 𝚘 𝚎𝚖𝚙𝚛𝚎𝚐𝚘 𝚎 𝚊 𝚙𝚛𝚘𝚍𝚞𝚌̧𝚊̃𝚘 𝚊𝚘𝚜 𝚗𝚒́𝚟𝚎𝚒𝚜 𝚊𝚗𝚝𝚎𝚛𝚒𝚘𝚛𝚎𝚜 𝚎 𝚊 𝚌𝚘𝚗𝚟𝚎𝚛𝚐𝚎̂𝚗𝚌𝚒𝚊 𝚌𝚘𝚖 𝚘 𝚗𝚒́𝚟𝚎𝚕 𝚖𝚎́𝚍𝚒𝚘 𝚍𝚎 𝚛𝚎𝚗𝚍𝚒𝚖𝚎𝚗𝚝𝚘 𝚍𝚘𝚜 𝚙𝚊𝚛𝚌𝚎𝚒𝚛𝚘𝚜 𝚍𝚊 𝚄𝚗𝚒𝚊̃𝚘 𝙴𝚞𝚛𝚘𝚙𝚎𝚒𝚊. 𝙿𝚘𝚛 𝚘𝚞𝚝𝚛𝚘 𝚕𝚊𝚍𝚘, 𝚎 𝚜𝚘𝚋𝚛𝚎𝚝𝚞𝚍𝚘, 𝚙𝚛𝚘𝚖𝚘𝚟𝚎𝚛 𝚞𝚖𝚊 𝚍𝚒𝚜𝚝𝚛𝚒𝚋𝚞𝚒𝚌̧𝚊̃𝚘 𝚖𝚊𝚒𝚜 𝚒𝚐𝚞𝚊𝚕𝚒𝚝𝚊́𝚛𝚒𝚊 𝚍𝚎 𝚛𝚎𝚗𝚍𝚒𝚖𝚎𝚗𝚝𝚘𝚜 𝚎𝚗𝚝𝚛𝚎 𝚊𝚜 𝚏𝚊𝚖𝚒́𝚕𝚒𝚊𝚜 𝚙𝚘𝚛𝚝𝚞𝚐𝚞𝚎𝚜𝚊𝚜, 𝚒𝚗𝚟𝚎𝚛𝚝𝚎𝚗𝚍𝚘 𝚊𝚜 𝚝𝚎𝚗𝚍𝚎̂𝚗𝚌𝚒𝚊𝚜 𝚍𝚎 𝚌𝚘𝚗𝚌𝚎𝚗𝚝𝚛𝚊𝚌̧𝚊̃𝚘 𝚍𝚎 𝚛𝚒𝚚𝚞𝚎𝚣𝚊 𝚚𝚞𝚎 𝚜𝚎 𝚝𝚎̂𝚖 𝚟𝚒𝚗𝚍𝚘 𝚊 𝚊𝚌𝚎𝚗𝚝𝚞𝚊𝚛 𝚗𝚊 𝚞́𝚕𝚝𝚒𝚖𝚊 𝚍𝚎́𝚌𝚊𝚍𝚊, 𝚐𝚎𝚛𝚊𝚗𝚍𝚘 𝚒𝚗𝚜𝚝𝚊𝚋𝚒𝚕𝚒𝚍𝚊𝚍𝚎.
𝙰𝚜 𝚎𝚜𝚌𝚘𝚕𝚑𝚊𝚜 𝚛𝚎𝚕𝚊𝚝𝚒𝚟𝚊𝚜 𝚊̀ 𝚛𝚎𝚌𝚞𝚙𝚎𝚛𝚊𝚌̧𝚊̃𝚘 𝚍𝚊 𝚎𝚌𝚘𝚗𝚘𝚖𝚒𝚊, 𝚍𝚎𝚟𝚎𝚛𝚊̃𝚘 𝚝𝚎𝚛 𝚌𝚘𝚖𝚘 𝚙𝚛𝚒𝚘𝚛𝚒𝚍𝚊𝚍𝚎 𝚛𝚎𝚜𝚝𝚒𝚝𝚞𝚒𝚛 𝚊 𝚙𝚎𝚛𝚜𝚙𝚎𝚝𝚒𝚟𝚊 𝚍𝚎 𝚙𝚛𝚘𝚐𝚛𝚎𝚜𝚜𝚊̃𝚘 𝚍𝚘 𝚛𝚎𝚗𝚍𝚒𝚖𝚎𝚗𝚝𝚘 𝚍𝚊𝚜 𝚏𝚊𝚖𝚒́𝚕𝚒𝚊𝚜, 𝚎 𝚊 𝚜𝚞𝚋𝚒𝚍𝚊 𝚗𝚊 𝚎𝚜𝚌𝚊𝚍𝚊 𝚜𝚘𝚌𝚒𝚊𝚕, 𝚐𝚎𝚛𝚊𝚗𝚍𝚘 𝚞𝚖 𝚜𝚒𝚜𝚝𝚎𝚖𝚊 𝚊𝚍𝚎𝚚𝚞𝚊𝚍𝚘 𝚍𝚎 𝚛𝚎𝚖𝚞𝚗𝚎𝚛𝚊𝚌̧𝚊̃𝚘 𝚍𝚘 𝚝𝚛𝚊𝚋𝚊𝚕𝚑𝚘 𝚎 𝚏𝚊𝚟𝚘𝚛𝚎𝚌𝚎𝚗𝚍𝚘 𝚊 𝚌𝚘𝚎𝚜𝚊̃𝚘 𝚜𝚘𝚌𝚒𝚊𝚕. 𝚂𝚘́ 𝚊𝚜𝚜𝚒𝚖 𝚜𝚎𝚛𝚊́ 𝚙𝚘𝚜𝚜𝚒́𝚟𝚎𝚕 𝚐𝚎𝚛𝚊𝚛 𝚍𝚒𝚗𝚊𝚖𝚒𝚜𝚖𝚘 𝚎𝚌𝚘𝚗𝚘́𝚖𝚒𝚌𝚘 𝚎 𝚜𝚘𝚌𝚒𝚊𝚕, 𝚛𝚎𝚝𝚎𝚛 𝚓𝚘𝚟𝚎𝚗𝚜 𝚝𝚛𝚊𝚋𝚊𝚕𝚑𝚊𝚍𝚘𝚛𝚎𝚜 𝚚𝚞𝚊𝚕𝚒𝚏𝚒𝚌𝚊𝚍𝚘𝚜 𝚗𝚘 𝚙𝚊𝚒́𝚜, 𝚙𝚛𝚘𝚖𝚘𝚟𝚎𝚛 𝚘 𝚎𝚚𝚞𝚒𝚕𝚒́𝚋𝚛𝚒𝚘 𝚎𝚗𝚝𝚛𝚎 𝚐𝚎𝚛𝚊𝚌̧𝚘̃𝚎𝚜, 𝚎𝚜𝚝𝚒𝚖𝚞𝚕𝚊𝚛 𝚊 𝚙𝚛𝚘𝚌𝚞𝚛𝚊 𝚒𝚗𝚝𝚎𝚛𝚗𝚊, 𝚎 𝚒𝚗𝚌𝚎𝚗𝚝𝚒𝚟𝚊𝚛 𝚊 𝚒𝚗𝚘𝚟𝚊𝚌̧𝚊̃𝚘.
*Economista, Professora do ISCTE-Instituto Universitário de Lisboa
IN "O JORNAL ECONÓMICO"-24/08/20
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6.3-Roteiro do Saber
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FONTE:
Fabio Guerra
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·ï¡÷¡ï·𝓡𝓞𝓣𝓔𝓘𝓡𝓞 𝓓𝓞 𝓢𝓐𝓑𝓔𝓡·ï¡÷¡ï·
6-𝐼𝒞𝒪𝒩𝐸𝒮 𝒟𝒪 𝑀𝒜𝒰 𝒞𝒪𝑀𝒫𝒪𝑅𝒯𝒜𝑀𝐸𝒩𝒯𝒪
6.3-𝒩𝑒𝓇𝑜
FONTE:
Fabio Guerra
.
Para cozer os miolos/171
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Para cozer os miolos/171
As imagens reportam a um parto em que a mãe era portadora de Covid19. Numa tentativa de evitar contágio ao filho os médicos optaram por só romperem a plascenta no exterior. Se não for montagem é uma fantástica realidade.
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25.XI - O Fantasma da Ópera
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25-TEATRO
FORA "D'ORAS"
𝒳𝐼-𝔒 𝔉𝔞𝔫𝔱𝔞𝔰𝔪𝔞 𝔡𝔞 𝔒́𝔭𝔢𝔯𝔞
𝑆𝐼𝑁𝑂𝑃𝑆𝐸:
𝑀𝓊𝓈𝒾𝒸𝒶𝓁 𝒪 𝐹𝒶𝓃𝓉𝒶𝓈𝓂𝒶 𝒹𝒶 𝒪́𝓅𝑒𝓇𝒶 𝒶𝓅𝓇𝑒𝓈𝑒𝓃𝓉𝒶𝒹𝑜 𝓅𝑜𝓇 𝒶𝓁𝓊𝓃𝑜𝓈 𝒹𝑜 𝒞𝑜𝓁𝑒́𝑔𝒾𝑜 𝒞𝑒𝓃𝑒𝒸𝒾𝓈𝓉𝒶 𝒟𝓇. 𝒥𝑜𝓈𝑒́ 𝐹𝑒𝓇𝓇𝑒𝒾𝓇𝒶 𝓃𝑜 𝒞𝑒𝓃𝓉𝓇𝑜 𝒞𝓊𝓁𝓉𝓊𝓇𝒶𝓁 𝒞𝑒𝓃𝑒𝒸𝒾𝓈𝓉𝒶 𝒥𝑜𝓊𝒷𝑒𝓇𝓉 𝒹𝑒 𝒞𝒶𝓇𝓋𝒶𝓁𝒽𝑜 𝓃𝒶 𝒸𝒾𝒹𝒶𝒹𝑒 𝒹𝑒 𝒰𝒷𝑒𝓇𝒶𝒷𝒶 - 𝑀𝒢.
𝒪 𝐹𝒶𝓃𝓉𝒶𝓈𝓂𝒶 𝒹𝒶 𝒪́𝓅𝑒𝓇𝒶 𝑒́ 𝓊𝓂 𝓇𝑜𝓂𝒶𝓃𝒸𝑒 𝒻𝓇𝒶𝓃𝒸𝑒̂𝓈 𝒹𝑒 𝒻𝒾𝒸𝒸̧𝒶̃𝑜 𝑔𝑜́𝓉𝒾𝒸𝒶, 𝑒𝓈𝒸𝓇𝒾𝓉𝑜 𝓅𝑜𝓇 𝒢𝒶𝓈𝓉𝑜𝓃 𝐿𝑒𝓇𝑜𝓊𝓍.
𝐹𝑜𝒾 𝓅𝓊𝒷𝓁𝒾𝒸𝒶𝒹𝑜 𝓅𝑒𝓁𝒶 𝓅𝓇𝒾𝓂𝑒𝒾𝓇𝒶 𝓋𝑒𝓏 𝒸𝑜𝓂𝑜 𝓊𝓂𝒶 𝓈𝑒𝓇𝒾𝑒 𝑒𝓂 𝐿𝑒 𝒢𝒶𝓊𝓁𝑜𝒾𝓈 𝒹𝑒 𝟤𝟥 𝒹𝑒 𝓈𝑒𝓉𝑒𝓂𝒷𝓇𝑜 𝒹𝑒 𝟣𝟫𝟢𝟫 𝒶 𝟪 𝒹𝑒 𝒿𝒶𝓃𝑒𝒾𝓇𝑜 𝒹𝑒 𝟣𝟫𝟣𝟢 𝑒 𝑒𝓂 𝒻𝑜𝓇𝓂𝒶 𝒹𝑒 𝓋𝑜𝓁𝓊𝓂𝑒, 𝑒𝓂 𝒶𝒷𝓇𝒾𝓁 𝒹𝑒 𝟣𝟫𝟣𝟢 𝓅𝑜𝓇 𝒫𝒾𝑒𝓇𝓇𝑒 𝐿𝒶𝒻𝒾𝓉𝓉𝑒.
𝒜 𝓃𝑜𝓋𝑒𝓁𝒶 𝑒́ 𝓅𝒶𝓇𝒸𝒾𝒶𝓁𝓂𝑒𝓃𝓉𝑒 𝒾𝓃𝓈𝓅𝒾𝓇𝒶𝒹𝒶 𝑒𝓂 𝒻𝒶𝒸𝓉𝑜𝓈 𝒽𝒾𝓈𝓉𝑜́𝓇𝒾𝒸𝑜𝓈 𝒹𝒶 𝒪́𝓅𝑒𝓇𝒶 𝒹𝑒 𝒫𝒶𝓇𝒾𝓈 𝒹𝓊𝓇𝒶𝓃𝓉𝑒 𝑜 𝓈𝑒́𝒸𝓊𝓁𝑜 𝒳𝐼𝒳 𝑒 𝓊𝓂 𝒸𝑜𝓃𝓉𝑜 𝒶𝓅𝑜́𝒸𝓇𝒾𝒻𝑜 𝓇𝑒𝓁𝒶𝓉𝒾𝓋𝑜 𝒶̀ 𝓊𝓉𝒾𝓁𝒾𝓏𝒶𝒸̧𝒶̃𝑜 𝒹𝑒 𝑒𝓈𝓆𝓊𝑒𝓁𝑒𝓉𝑜 𝒹𝑒 𝓊𝓂 𝓂𝓊́𝓈𝒾𝒸𝑜 𝒻𝒶𝓂𝑜𝓈𝑜.
𝒩𝑜𝓇𝓂𝒶𝓁𝓂𝑒𝓃𝓉𝑒 𝓈𝑒𝓊 𝓊𝓈𝑜 𝑒́ 𝒹𝑒 𝒻𝑒𝓈𝓉𝒶𝓈 𝒻𝑜𝓁𝒸𝓁𝑜́𝓇𝒾𝒸𝒶𝓈 𝓅𝓇𝑜𝒹𝓊𝒸̧𝒶̃𝑜 𝒹𝑒 𝒟𝑒𝓇 𝐹𝓇𝑒𝒾𝓈𝒸𝒽𝓊̈𝓉𝓏 𝒹𝑒 𝟣𝟪𝟦𝟣.
𝐻𝑜𝒿𝑒 𝑒𝓂 𝒹𝒾𝒶, 𝑒́ 𝑜𝒻𝓊𝓈𝒸𝒶𝒹𝒶 𝓅𝑒𝓁𝑜 𝓈𝓊𝒸𝑒𝓈𝓈𝑜 𝒹𝑒 𝓈𝓊𝒶𝓈 𝓋𝒶́𝓇𝒾𝒶𝓈 𝒶𝒹𝒶𝓅𝓉𝒶𝒸̧𝑜̃𝑒𝓈 𝒹𝑒 𝓉𝑒𝒶𝓉𝓇𝑜 𝑒 𝒸𝒾𝓃𝑒𝓂𝒶, 𝒶𝓉𝒾𝓃𝑔𝒾𝓃𝒹𝑜 𝑜 𝓈𝑒𝓊 𝒶𝓊𝑔𝑒 𝒶𝑜 𝓈𝑒𝓇 𝒶𝒹𝒶𝓅𝓉𝒶𝒹𝒶 𝓅𝒶𝓇𝒶 𝑜 𝓉𝑒𝒶𝓉𝓇𝑜 𝓂𝓊𝓈𝒾𝒸𝒶𝓁 𝓅𝑜𝓇 𝒜𝓃𝒹𝓇𝑒𝓌 𝐿𝓁𝑜𝓎𝒹 𝒲𝑒𝒷𝒷𝑒𝓇, 𝒞𝒽𝒶𝓇𝓁𝑒𝓈 𝐻𝒶𝓇𝓉 𝑒 𝑅𝒾𝒸𝒽𝒶𝓇𝒹 𝒮𝓉𝒾𝓁𝑔𝑜𝑒.
𝒪 𝑒𝓈𝓅𝑒𝒸𝓉𝒶́𝒸𝓊𝓁𝑜 𝒷𝒶𝓉𝑒𝓊 𝑜 𝓇𝑒𝒸𝑜𝓇𝒹𝑒 𝒹𝑒 𝓅𝑒𝓇𝓂𝒶𝓃𝑒̂𝓃𝒸𝒾𝒶 𝓃𝒶 𝐵𝓇𝑜𝒶𝒹𝓌𝒶𝓎 (𝓈𝓊𝓅𝑒𝓇𝒶𝓃𝒹𝑜 𝒞𝒶𝓉𝓈), 𝑒 𝒸𝑜𝓃𝓉𝒾𝓃𝓊𝒶 𝑒𝓂 𝓅𝒶𝓁𝒸𝑜 𝒶𝓉𝑒́ 𝒽𝑜𝒿𝑒 𝒹𝑒𝓈𝒹𝑒 𝒶 𝑒𝓈𝓉𝓇𝑒𝒾𝒶 𝑒𝓂 𝟣𝟫𝟪𝟨.
𝐸́ 𝑜 𝓂𝓊𝓈𝒾𝒸𝒶𝓁 𝓂𝒶𝒾𝓈 𝓋𝒾𝓈𝓉𝑜 𝒹𝑒 𝓈𝑒𝓂𝓅𝓇𝑒, 𝓅𝑜𝓇 𝓂𝒶𝒾𝓈 𝟣𝟢𝟢 𝓂𝒾𝓁𝒽𝑜̃𝑒𝓈 𝒹𝑒 𝓅𝑒𝓈𝓈𝑜𝒶𝓈, 𝑒 𝓉𝒶𝓂𝒷𝑒́𝓂 𝒶 𝓅𝓇𝑜𝒹𝓊𝒸̧𝒶̃𝑜 𝒹𝑒 𝑒𝓃𝓉𝓇𝑒𝓉𝑒𝓃𝒾𝓂𝑒𝓃𝓉𝑜 𝒸𝑜𝓂 𝓂𝒶𝒾𝓈 𝓈𝓊𝒸𝑒𝓈𝓈𝑜 𝓆𝓊𝑒 𝒶𝓁𝑔𝓊𝓂𝒶 𝓋𝑒𝓏 𝑒𝓍𝒾𝓈𝓉𝒾𝓊, 𝓇𝑒𝓃𝒹𝑒𝓃𝒹𝑜 𝟧 𝒷𝒾𝓁𝒽𝑜̃𝑒𝓈 𝒹𝑒 𝒹𝑜́𝓁𝒶𝓇𝑒𝓈
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