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16/09/2021
ANA PAULA DOURADO
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A ausência das cidades,
da paisagem e do território
nos debates autárquicos
Não é claro a quem os debates se dirigem. Aos eleitores em eleições autárquicas não será. Não é aceitável que os debates instrumentalizem as eleições autárquicas. Eles estão nos antípodas das discussões contemporâneas sobre as cidades inteligentes ou as cidades dos quinze minutos.
𝗔 𝗶𝗱𝗲𝗶𝗮 𝗱𝗲 𝗰𝗶𝗱𝗮𝗱𝗲 𝗲 𝗱𝗲 𝘁𝗲𝗿𝗿𝗶𝘁𝗼́𝗿𝗶𝗼 𝗮𝗱𝗷𝗮𝗰𝗲𝗻𝘁𝗲, 𝘀𝗲𝗷𝗮 𝗰𝗮𝗺𝗽𝗼, 𝗽𝗮𝗶𝘀𝗮𝗴𝗲𝗺 𝗼𝘂 𝗻𝗮𝘁𝘂𝗿𝗲𝘇𝗮, 𝘁𝗿𝗮𝗻𝘀𝗺𝗶𝘁𝗶𝗱𝗮 𝗻𝗼𝘀 𝗱𝗲𝗯𝗮𝘁𝗲𝘀 𝘁𝗲𝗹𝗲𝘃𝗶𝘀𝗶𝘃𝗼𝘀 𝘀𝗼𝗯𝗿𝗲 𝗮𝘀 𝗮𝘂𝘁𝗮́𝗿𝗾𝘂𝗶𝗰𝗮𝘀 𝗲́ 𝗺𝘂𝗶𝘁𝗼 𝗽𝗼𝗯𝗿𝗲, 𝗶𝗻𝘀𝘂𝗳𝗶𝗰𝗶𝗲𝗻𝘁𝗲, 𝗳𝗶𝗰𝗮 𝗺𝘂𝗶𝘁𝗼 𝗮𝗾𝘂𝗲́𝗺 𝗱𝗼𝘀 𝗱𝗲𝘀𝗲𝗷𝗼𝘀 𝗲 𝗻𝗲𝗰𝗲𝘀𝘀𝗶𝗱𝗮𝗱𝗲𝘀 𝗰𝗼𝗻𝘁𝗲𝗺𝗽𝗼𝗿𝗮̂𝗻𝗲𝗼𝘀. 𝗔𝘀 𝗰𝗶𝗱𝗮𝗱𝗲𝘀 𝗾𝘂𝗲 𝗻𝗼𝘀 𝗼𝗳𝗲𝗿𝗲𝗰𝗲𝗺 𝘀𝗮̃𝗼 𝘁𝘂𝗱𝗼 𝗼 𝗾𝘂𝗲 𝘂𝗺𝗮 𝗰𝗶𝗱𝗮𝗱𝗲 𝗻𝗮̃𝗼 𝗱𝗲𝘃𝗲 𝘀𝗲𝗿.
𝗡𝗼𝘀 𝗱𝗲𝗯𝗮𝘁𝗲𝘀, 𝗮𝘀 𝗴𝗿𝗮𝗻𝗱𝗲𝘀 𝗰𝗶𝗱𝗮𝗱𝗲𝘀 𝗲𝗺 𝗾𝘂𝗲 𝘃𝗶𝘃𝗲𝗺𝗼𝘀 𝗼𝘂 𝘁𝗿𝗮𝗯𝗮𝗹𝗵𝗮𝗺𝗼𝘀 𝘀𝗮̃𝗼 𝗽𝗿𝗶𝘀𝗼̃𝗲𝘀 𝗼𝘂 𝗽𝗼𝘀𝘁𝗮𝗶𝘀 𝘁𝘂𝗿𝗶́𝘀𝘁𝗶𝗰𝗼𝘀 𝗼𝗻𝗱𝗲 𝘀𝗼́ 𝗶𝗺𝗽𝗼𝗿𝘁𝗮 𝘁𝗲𝗿 𝗮𝗰𝗲𝘀𝘀𝗼 𝗮 𝘂𝗺𝗮 𝗾𝘂𝗮𝗹𝗾𝘂𝗲𝗿 𝗵𝗮𝗯𝗶𝘁𝗮𝗰̧𝗮̃𝗼, 𝘀𝘂𝗯𝘀𝗶𝗱𝗶𝗮𝗱𝗮 𝗱𝗲 𝗽𝗿𝗲𝗳𝗲𝗿𝗲̂𝗻𝗰𝗶𝗮, 𝗲 𝘁𝗿𝗮𝗻𝘀𝗽𝗼𝗿𝘁𝗲 𝗽𝗮𝗿𝗮 𝗼 𝗲𝗺𝗽𝗿𝗲𝗴𝗼. 𝗔𝘀 𝗰𝗶𝗱𝗮𝗱𝗲𝘀 𝗻𝗮𝘀 𝗽𝗲𝗿𝗴𝘂𝗻𝘁𝗮𝘀 𝗱𝗼𝘀 𝗷𝗼𝗿𝗻𝗮𝗹𝗶𝘀𝘁𝗮𝘀 𝗲 𝗻𝗮𝘀 𝗿𝗲𝘀𝗽𝗼𝘀𝘁𝗮𝘀 𝗱𝗼𝘀 𝗰𝗮𝗻𝗱𝗶𝗱𝗮𝘁𝗼𝘀 𝘀𝗮̃𝗼 𝗹𝗼𝗰𝗮𝗶𝘀 𝗽𝗮𝗿𝗮 𝗱𝗼𝗿𝗺𝗶𝗿 𝗼𝘂 𝗰𝗵𝗲𝗴𝗮𝗿 𝗲 𝗽𝗮𝗿𝘁𝗶𝗿, 𝗮𝗼 𝘀𝗲𝗿𝘃𝗶𝗰̧𝗼 𝗱𝗼 𝘁𝗿𝗮𝗯𝗮𝗹𝗵𝗼 𝗲 𝗱𝗼 𝗰𝗼𝗻𝘀𝘂𝗺𝗼. 𝗖𝗶𝗱𝗮𝗱𝗲𝘀 𝗳𝗼𝗻𝘁𝗲 𝗱𝗲 𝗲𝘀𝗰𝗿𝗮𝘃𝗮𝘁𝘂𝗿𝗮, 𝗶𝘀𝗲𝗻𝘁𝗮𝘀 𝗱𝗲 𝗲𝘀𝘁𝗶́𝗺𝘂𝗹𝗼𝘀 𝘀𝗲𝗻𝘀𝗼𝗿𝗶𝗮𝗶𝘀, 𝗰𝗿𝗶𝗮𝘁𝗶𝘃𝗼𝘀 𝗲 𝗱𝗲 𝘀𝗼𝗰𝗶𝗮𝗹𝗶𝘇𝗮𝗰̧𝗮̃𝗼 𝗽𝗮𝗿𝗮 𝗮 𝗺𝗮𝗶𝗼𝗿 𝗽𝗮𝗿𝘁𝗲 𝗱𝗼𝘀 𝗾𝘂𝗲 𝗮𝗶́ 𝘁𝗿𝗮𝗯𝗮𝗹𝗵𝗮𝗺. 𝗖𝗶𝗱𝗮𝗱𝗲𝘀 𝗱𝗲𝘀𝗹𝗶𝗴𝗮𝗱𝗮𝘀 𝗱𝗼 𝗿𝗲𝘀𝘁𝗮𝗻𝘁𝗲 𝘁𝗲𝗿𝗿𝗶𝘁𝗼́𝗿𝗶𝗼, 𝘂𝗺𝗮𝘀 𝘃𝗲𝘇𝗲𝘀 𝗰𝗼𝗺 𝗲𝘀𝗽𝗮𝗰̧𝗼 𝗲 𝘁𝗲𝗺𝗽𝗼 𝗱𝗲𝗳𝗶𝗻𝗶𝗱𝗼𝘀, 𝗱𝗼𝘁𝗮𝗱𝗮𝘀 𝗱𝗲 𝗶𝗻𝗶́𝗰𝗶𝗼 𝗲 𝗳𝗶𝗺, 𝗼𝘂𝘁𝗿𝗮𝘀 𝘃𝗲𝘇𝗲𝘀, 𝗰𝗶𝗱𝗮𝗱𝗲𝘀 𝗰𝗼𝗻𝘁𝗶́𝗻𝘂𝗮𝘀, 𝗺𝗮𝘀 𝘀𝗲𝗺𝗽𝗿𝗲 𝗮𝗺𝗼𝗿𝗳𝗮𝘀.
𝗢𝘀 𝗱𝗲𝗯𝗮𝘁𝗲𝘀 𝗳𝗮𝘇𝗲𝗺 𝘁𝗮𝗺𝗯𝗲́𝗺 𝗹𝗲𝗺𝗯𝗿𝗮𝗿 𝗮𝗹𝗴𝘂𝗺𝗮𝘀 𝗱𝗮𝘀 𝗖𝗶𝗱𝗮𝗱𝗲𝘀 𝗜𝗻𝘃𝗶𝘀𝗶́𝘃𝗲𝗶𝘀 𝗺𝗮𝘀 𝗻𝗮̃𝗼 𝘃𝗶𝘃𝗮𝘀, 𝗱𝗲 𝗜𝘁𝗮𝗹𝗼 𝗖𝗮𝗹𝘃𝗶𝗻𝗼: 𝗧𝗿𝘂𝗱𝗲, 𝗠𝗮𝘂𝗿𝗶́𝗹𝗶𝗮, 𝗭𝗼𝗿𝗮(𝟭𝟵𝟳𝟮). 𝗟𝗶𝘀𝗯𝗼𝗮 𝗲 𝗣𝗼𝗿𝘁𝗼, 𝗮𝗽𝗲𝘀𝗮𝗿 𝗱𝗲 𝘁𝗮̃𝗼 𝗱𝗶𝗳𝗲𝗿𝗲𝗻𝘁𝗲𝘀 𝗲𝗻𝘁𝗿𝗲 𝘀𝗶, 𝗰𝗼𝗿𝗿𝗲𝘀𝗽𝗼𝗻𝗱𝗲𝗺, 𝗻𝗼 𝗱𝗶𝘀𝗰𝘂𝗿𝘀𝗼 𝗱𝗼𝘀 𝗰𝗮𝗻𝗱𝗶𝗱𝗮𝘁𝗼𝘀, 𝗮̀ 𝗧𝗿𝘂𝗱𝗲 𝗱𝗲 𝗖𝗮𝗹𝘃𝗶𝗻𝗼. 𝗤𝘂𝗲𝗺 𝗼𝘀 𝗼𝘂𝘃𝗲 𝗲 𝗻𝗮̃𝗼 𝗼𝘀 𝗰𝗼𝗻𝗵𝗲𝗰̧𝗮, 𝗻𝗮̃𝗼 𝘀𝗮𝗯𝗲 𝘀𝗲 𝗼𝘀 𝗰𝗮𝗻𝗱𝗶𝗱𝗮𝘁𝗼𝘀 𝗲𝘀𝘁𝗮̃𝗼 𝗮 𝗳𝗮𝗹𝗮𝗿 𝗱𝗲 𝗟𝗶𝘀𝗯𝗼𝗮 𝗼𝘂 𝗱𝗼 𝗣𝗼𝗿𝘁𝗼, 𝗻𝗮𝘀 𝘀𝘂𝗮𝘀 𝗯𝗼𝗰𝗮𝘀 𝘁𝗼𝗿𝗻𝗮𝗺-𝘀𝗲 𝗰𝗶𝗱𝗮𝗱𝗲𝘀 𝘂𝗻𝗶𝗳𝗼𝗿𝗺𝗲𝘀, 𝗻𝗮̃𝗼-𝗹𝘂𝗴𝗮𝗿𝗲𝘀, 𝗰𝗼𝗺 𝗶𝗴𝘂𝗮𝗶𝘀 𝗹𝗲𝘁𝗿𝗲𝗶𝗿𝗼𝘀, 𝘀𝗲𝘁𝗮𝘀, 𝗮𝗹𝗮𝗺𝗲𝗱𝗮𝘀, 𝗺𝗼𝗻𝘁𝗿𝗮𝘀, 𝘀𝗲𝗺 𝘁𝗲𝗺𝗽𝗼 𝗼𝘂 𝗵𝗶𝘀𝘁𝗼́𝗿𝗶𝗮 𝗽𝗮𝗿𝗮 𝘃𝗶𝘃𝗲𝗿 𝗲 𝗰𝗿𝗶𝗮𝗿, 𝗶𝗴𝘂𝗮𝗶𝘀 𝗮 𝘁𝗼𝗱𝗮𝘀 𝗮𝘀 𝗼𝘂𝘁𝗿𝗮𝘀, 𝗰𝗼𝗺𝗼 𝗧𝗿𝘂𝗱𝗲. 𝗝𝗮́ 𝗮𝘀 𝗣𝗿𝗮𝗰̧𝗮𝘀 𝗱𝗼 𝗠𝘂𝗻𝗶𝗰𝗶́𝗽𝗶𝗼 𝗱𝗲 𝗟𝗶𝘀𝗯𝗼𝗮 𝗲 𝗱𝗼 𝗣𝗼𝗿𝘁𝗼, 𝗳𝗶𝗹𝗺𝗮𝗱𝗮𝘀 𝗽𝗮𝗿𝗮 𝗼𝘀 𝗱𝗲𝗯𝗮𝘁𝗲𝘀, 𝘀𝗮̃𝗼 𝗠𝗮𝘂𝗿𝗶́𝗹𝗶𝗮𝘀, 𝗲𝗺𝗯𝗲𝗹𝗲𝘇𝗮𝗱𝗮𝘀 𝗽𝗮𝗿𝗮 𝗼𝘀 𝘁𝘂𝗿𝗶𝘀𝘁𝗮𝘀 𝗮𝘀 𝘃𝗶𝘀𝗶𝘁𝗮𝗿𝗲𝗺 𝗮𝗾𝘂𝗶 𝗲 𝗮𝗴𝗼𝗿𝗮, 𝗱𝗲𝘀𝗳𝗿𝘂𝘁𝗮𝗿𝗲𝗺 𝗱𝗼 𝗽𝗿𝗲𝘀𝗲𝗻𝘁𝗲, 𝗺𝗮𝘀 𝗴𝗮𝗯𝗮𝗻𝗱𝗼 𝗮 𝗺𝗲𝗺𝗼́𝗿𝗶𝗮 𝗱𝗼𝘀 𝘃𝗲𝗹𝗵𝗼𝘀 𝗲𝗱𝗶𝗳𝗶́𝗰𝗶𝗼𝘀. 𝗘 𝗲𝘀𝘁𝗮𝘀 𝗟𝗶𝘀𝗯𝗼𝗮 𝗲 𝗣𝗼𝗿𝘁𝗼 𝗽𝗮𝗿𝗮 𝘁𝘂𝗿𝗶𝘀𝘁𝗮𝘀 𝘀𝗮̃𝗼 𝘁𝗮𝗺𝗯𝗲́𝗺 𝗮𝘀𝗭𝗼𝗿𝗮𝘀, 𝗮𝗿𝘁𝗶𝗳𝗶𝗰𝗶𝗮𝗶𝘀, 𝗽𝗮𝗿𝘁𝗶𝘁𝘂𝗿𝗮𝘀 𝗺𝘂𝘀𝗶𝗰𝗮𝗶𝘀 𝗾𝘂𝗲 𝗲𝘀𝘁𝗮𝗴𝗻𝗮𝗺 𝗮𝘁𝗲́ 𝗱𝗲𝘀𝗮𝗽𝗮𝗿𝗲𝗰𝗲𝗿𝗲𝗺 𝘂𝗺 𝗱𝗶𝗮.
𝗔 𝗲𝘀𝗽𝗲𝗰𝘂𝗹𝗮𝗰̧𝗮̃𝗼 𝗶𝗺𝗼𝗯𝗶𝗹𝗶𝗮́𝗿𝗶𝗮 𝗲́ 𝘀𝗲𝗺 𝗱𝘂́𝘃𝗶𝗱𝗮 𝗼 𝗽𝗿𝗼𝗯𝗹𝗲𝗺𝗮 𝗺𝗮𝗶𝘀 𝗿𝗲𝗹𝗲𝘃𝗮𝗻𝘁𝗲 𝗻𝗮𝘀 𝗴𝗿𝗮𝗻𝗱𝗲𝘀 𝗰𝗶𝗱𝗮𝗱𝗲𝘀 𝗲𝘂𝗿𝗼𝗽𝗲𝗶𝗮𝘀, 𝗱𝗲 𝗲𝗻𝘁𝗿𝗲 𝗮𝘀 𝗾𝘂𝗮𝗶𝘀, 𝗟𝗶𝘀𝗯𝗼𝗮 𝗲 𝗣𝗼𝗿𝘁𝗼. 𝗔 𝗵𝗮𝗯𝗶𝘁𝗮𝗰̧𝗮̃𝗼 𝗲́ 𝗮 𝗽𝗿𝗶𝗺𝗲𝗶𝗿𝗮 𝗰𝗼𝗻𝗱𝗶𝗰̧𝗮̃𝗼 𝗽𝗮𝗿𝗮 𝗺𝗮𝗻𝘁𝗲𝗿 𝘃𝗶𝘃𝗮𝘀 𝗮𝘀 𝗰𝗶𝗱𝗮𝗱𝗲𝘀 𝗽𝗼𝗿𝘁𝘂𝗴𝘂𝗲𝘀𝗮. 𝗘 𝗻𝗮̃𝗼 𝗵𝗮́ 𝗱𝘂́𝘃𝗶𝗱𝗮 𝗾𝘂𝗲 𝗼 𝘁𝗿𝗮𝗻𝘀𝗽𝗼𝗿𝘁𝗲 𝗲𝘀𝘁𝗮́ 𝗿𝗲𝗹𝗮𝗰𝗶𝗼𝗻𝗮𝗱𝗼 𝗰𝗼𝗺 𝗮𝘀 𝗺𝗲𝘁𝗮𝘀 𝗰𝗹𝗶𝗺𝗮́𝘁𝗶𝗰𝗮𝘀, 𝗱𝗲 𝗺𝗼𝗯𝗶𝗹𝗶𝗱𝗮𝗱𝗲 𝗲 𝗱𝗲 𝗰𝗼𝗻𝗳𝗼𝗿𝘁𝗼. 𝗠𝗮𝘀 𝗵𝗮𝗯𝗶𝘁𝗮𝗰̧𝗮̃𝗼 𝗲 𝘁𝗿𝗮𝗻𝘀𝗽𝗼𝗿𝘁𝗲, 𝗮𝘀𝘀𝗶𝗺 𝗮𝗽𝗿𝗲𝘀𝗲𝗻𝘁𝗮𝗱𝗼𝘀, 𝘀𝗲𝗺 𝗱𝗲𝗯𝗮𝘁𝗲 𝘀𝗼𝗯𝗿𝗲 𝗮 𝘃𝗶𝗱𝗮 𝗲 𝗮 𝗾𝘂𝗮𝗹𝗶𝗱𝗮𝗱𝗲 𝗱𝗲 𝘃𝗶𝗱𝗮, 𝘀𝗮̃𝗼 𝗶𝗻𝘀𝘂𝗳𝗶𝗰𝗶𝗲𝗻𝘁𝗲𝘀 𝗽𝗮𝗿𝗮 𝘂𝗺 𝗰𝗼𝗻𝗰𝗲𝗶𝘁𝗼 𝗱𝗲 𝗰𝗶𝗱𝗮𝗱𝗲 𝗱𝗼 𝘀𝗲́𝗰𝘂𝗹𝗼 𝗫𝗫𝗜. 𝗡𝗮̃𝗼 𝘀𝗮̃𝗼 𝗲𝘀𝘀𝗮𝘀 𝗮𝘀 𝗰𝗶𝗱𝗮𝗱𝗲𝘀 𝗾𝘂𝗲 𝗱𝗲𝘀𝗲𝗷𝗮𝗺𝗼𝘀 𝗲 𝗺𝗲𝗿𝗲𝗰𝗲𝗺𝗼𝘀, 𝗶𝗻𝗱𝗲𝗽𝗲𝗻𝗱𝗲𝗻𝘁𝗲𝗺𝗲𝗻𝘁𝗲 𝗱𝗮 𝗻𝗼𝘀𝘀𝗮 𝗽𝗿𝗼𝗳𝗶𝘀𝘀𝗮̃𝗼.
𝗦𝗲 𝗼𝘀 𝗽𝗮𝗿𝘁𝗶𝗰𝗶𝗽𝗮𝗻𝘁𝗲𝘀 𝗻𝗼 𝗱𝗲𝗯𝗮𝘁𝗲 𝗹𝗲𝘀𝘀𝗲𝗺 𝗖𝗮𝗹𝘃𝗶𝗻𝗼, 𝘀𝗮𝗯𝗲𝗿𝗶𝗮𝗺 𝗾𝘂𝗲 𝗼 𝗮𝘀𝘀𝗮𝗹𝗮𝗿𝗶𝗮𝗱𝗼 𝗠𝗮𝗿𝗰𝗼𝘃𝗮𝗹𝗱𝗼, 𝗵𝗮́ 𝘀𝗲𝘀𝘀𝗲𝗻𝘁𝗮 𝗮𝗻𝗼𝘀 (𝗔𝘀 𝗘𝘀𝘁𝗮𝗰̧𝗼̃𝗲𝘀 𝗻𝗮 𝗖𝗶𝗱𝗮𝗱𝗲, 𝟭𝟵𝟲𝟯), 𝗽𝗿𝗼𝗰𝘂𝗿𝗮𝘃𝗮 𝗶𝗻𝗰𝗲𝘀𝘀𝗮𝗻𝘁𝗲𝗺𝗲𝗻𝘁𝗲 𝗮 𝗹𝗶𝗯𝗲𝗿𝗱𝗮𝗱𝗲 𝗻𝗮 𝗰𝗶𝗱𝗮𝗱𝗲, 𝗮 𝗽𝗿𝗲𝘀𝗲𝗻𝗰̧𝗮 𝗱𝗮 𝗻𝗮𝘁𝘂𝗿𝗲𝘇𝗮 𝗻𝗮 𝗰𝗶𝗱𝗮𝗱𝗲, 𝗮 𝗰𝗼𝗺𝗽𝗹𝗲𝗺𝗲𝗻𝘁𝗮𝗿𝗶𝗱𝗮𝗱𝗲 𝗲𝗻𝘁𝗿𝗲 𝗮𝗺𝗯𝗮𝘀 𝗮𝘁𝗿𝗮𝘃𝗲́𝘀 𝗱𝗲 𝘀𝗶𝗻𝗮𝗶𝘀 𝗼𝘂 𝗱𝗼 𝗲𝗰𝗿𝗮̃ 𝗴𝗶𝗴𝗮𝗻𝘁𝗲 𝗱𝗼 𝗰𝗶𝗻𝗲𝗺𝗮, 𝗶𝗱𝗲𝗮𝗹𝗶𝘇𝗮𝘃𝗮 𝗲 𝗶𝗻𝗰𝘂𝘁𝗶𝗮 𝗲𝘀𝘀𝗮 𝗶𝗱𝗲𝗮𝗹𝗶𝘇𝗮𝗰̧𝗮̃𝗼 𝗮𝗼𝘀 𝗳𝗶𝗹𝗵𝗼𝘀.
𝗘𝘀𝘁𝗮𝗺𝗼𝘀 𝗲𝗺 𝟮𝟬𝟮𝟭, 𝗺𝗮𝗶𝘀 𝗼𝘂 𝗺𝗲𝗻𝗼𝘀 𝗮𝗳𝗲𝘁𝗮𝗱𝗼𝘀 𝗽𝗲𝗹𝗼𝘀 𝗰𝗼𝗻𝗳𝗶𝗻𝗮𝗺𝗲𝗻𝘁𝗼𝘀 𝘀𝘂𝗰𝗲𝘀𝘀𝗶𝘃𝗼𝘀 𝗲 𝗰𝗲𝗿𝗰𝗮𝘀 𝘀𝗮𝗻𝗶𝘁𝗮́𝗿𝗶𝗮𝘀. 𝗘 𝘁𝗼𝗱𝗮𝘃𝗶𝗮, 𝗽𝗮𝗿𝗮 𝗲𝗳𝗲𝗶𝘁𝗼𝘀 𝗱𝗼𝘀 𝗱𝗲𝗯𝗮𝘁𝗲𝘀 𝘁𝗲𝗹𝗲𝘃𝗶𝘀𝗶𝘃𝗼𝘀 𝗲 𝗱𝗼𝘀 𝗽𝗿𝗼𝗴𝗿𝗮𝗺𝗮𝘀 𝗮𝘂𝘁𝗮́𝗿𝗾𝘂𝗶𝗰𝗼𝘀, 𝗲𝘀𝘁𝗮 𝗽𝗮𝗻𝗱𝗲𝗺𝗶𝗮 𝗳𝗼𝗶 𝗮 𝘂́𝗹𝘁𝗶𝗺𝗮 𝗲 𝗼𝘀 𝗰𝗼𝗻𝘀𝘁𝗿𝗮𝗻𝗴𝗶𝗺𝗲𝗻𝘁𝗼𝘀 𝘃𝗶𝘃𝗶𝗱𝗼𝘀 𝗻𝗮̃𝗼 𝘀𝗲 𝗿𝗲𝗽𝗲𝘁𝗶𝗿𝗮̃𝗼. 𝗢 𝗿𝗶𝘀𝗰𝗼 𝗱𝗲 𝗲𝘀𝗰𝗮𝘀𝘀𝗲𝘇 𝗱𝗲 𝗯𝗲𝗻𝘀 𝗾𝘂𝗲 𝘃𝗶𝘃𝗲𝗺𝗼𝘀, 𝗰𝗼𝗺𝗼 𝗲𝘃𝗶𝘁𝗮́-𝗹𝗮 𝗻𝗼 𝗳𝘂𝘁𝘂𝗿𝗼, 𝗼 𝗽𝗮𝗽𝗲𝗹 𝗱𝗮 𝗽𝗮𝗶𝘀𝗮𝗴𝗲𝗺 𝗿𝘂𝗿𝗮𝗹, 𝗻𝗮̃𝗼 𝘀𝗮̃𝗼 𝗺𝗲𝗻𝗰𝗶𝗼𝗻𝗮𝗱𝗼𝘀; 𝗻𝗮̃𝗼 𝘀𝗲 𝗱𝗶𝘀𝗰𝘂𝘁𝗲 𝗮 𝗽𝗿𝗼𝗱𝘂𝗰̧𝗮̃𝗼 𝗹𝗼𝗰𝗮𝗹 𝗼𝘂 𝗼 𝗰𝗼𝗺𝗽𝗿𝗲 𝗹𝗼𝗰𝗮𝗹; 𝗼𝘂 𝗮 𝗰𝗶𝗱𝗮𝗱𝗲 𝗱𝗼𝘀 𝟭𝟱 𝗺𝗶𝗻𝘂𝘁𝗼𝘀. 𝗡𝗮̃𝗼 𝗳𝗮𝘇𝗲𝗺 𝗽𝗮𝗿𝘁𝗲 𝗱𝗼 𝗱𝗲𝗯𝗮𝘁𝗲 𝗮𝘀 𝗰𝗶𝗱𝗮𝗱𝗲𝘀 𝘀𝗲𝗺 𝗮𝗰𝗲𝘀𝘀𝗼 𝗮𝗼 𝗰𝗮𝗺𝗽𝗼 𝗲 𝗮̀ 𝗽𝗮𝗶𝘀𝗮𝗴𝗲𝗺 𝗹𝗶𝗺𝗶́𝘁𝗿𝗼𝗳𝗲, 𝗽𝗼𝗿 𝘁𝗲𝗿𝗲𝗺 𝘀𝗶𝗱𝗼 𝗱𝗲𝘀𝘁𝗿𝘂𝗶́𝗱𝗼𝘀 𝗲 𝗲𝘅𝗰𝗹𝘂𝗶́𝗱𝗼𝘀, 𝗰𝗼𝗺𝗼 𝘀𝗲 𝗮 𝗰𝗶𝗱𝗮𝗱𝗲 𝗻𝗮̃𝗼 𝗼𝘀 𝗰𝗼𝗻𝘁𝗲𝗺𝗽𝗹𝗮𝘀𝘀𝗲 𝗲 𝗺𝘂𝗶𝘁𝗼 𝗺𝗲𝗻𝗼𝘀 𝗱𝗲𝗽𝗲𝗻𝗱𝗲𝘀𝘀𝗲 𝗱𝗲𝗹𝗲𝘀. 𝗘 𝗰𝗼𝗺𝗼 𝘀𝗲 𝗮𝘀 𝗲𝗹𝗲𝗶𝗰̧𝗼̃𝗲𝘀 𝗮𝘂𝘁𝗮́𝗿𝗾𝘂𝗶𝗰𝗮𝘀 𝗻𝗮̃𝗼 𝗼𝘀 𝗮𝗯𝗿𝗮𝗻𝗴𝗲𝘀𝘀𝗲𝗺.
𝗧𝘂𝗱𝗼 𝘀𝗲 𝗽𝗮𝘀𝘀𝗮 𝗰𝗼𝗺𝗼 𝘀𝗲 𝗼 𝗱𝗲𝘀𝗽𝗼𝘃𝗼𝗮𝗺𝗲𝗻𝘁𝗼 𝗼𝘂 𝗮𝘀 𝗮𝗴𝗹𝗼𝗺𝗲𝗿𝗮𝗰̧𝗼̃𝗲𝘀 𝘂𝗿𝗯𝗮𝗻𝗮𝘀, 𝗼𝘀 𝗶𝗻𝗰𝗲̂𝗻𝗱𝗶𝗼𝘀, 𝗮𝘀 𝗶𝗻𝘂𝗻𝗱𝗮𝗰̧𝗼̃𝗲𝘀 𝗲 𝗮 𝗳𝗮𝗹𝘁𝗮 𝗱𝗲 𝗮́𝗴𝘂𝗮, 𝗮 𝗯𝗲𝘁𝗼𝗻𝗶𝘇𝗮𝗰̧𝗮̃𝗼 𝗱𝗮𝘀 𝗺𝗮𝗿𝗴𝗲𝗻𝘀 𝗱𝗼𝘀 𝗿𝗶𝗼𝘀, 𝗼 𝘁𝗿𝗮𝘁𝗮𝗺𝗲𝗻𝘁𝗼 𝗲 𝘁𝗶𝗽𝗼 𝗱𝗲 𝗼𝗰𝘂𝗽𝗮𝗰̧𝗮̃𝗼 𝗱𝗼𝘀 𝗹𝗲𝗶𝘁𝗼𝘀 𝗱𝗲 𝗮́𝗴𝘂𝗮, 𝗮𝘀 𝗰𝗼𝗻𝘀𝘁𝗿𝘂𝗰̧𝗼̃𝗲𝘀, 𝗼 𝘁𝗶𝗽𝗼 𝗱𝗲 𝗮𝗴𝗿𝗶𝗰𝘂𝗹𝘁𝘂𝗿𝗮 𝗲 𝗮 𝗱𝗲𝘀𝗲𝗿𝘁𝗶𝗳𝗶𝗰𝗮𝗰̧𝗮̃𝗼 𝗻𝗮̃𝗼 𝗳𝗼𝘀𝘀𝗲𝗺 𝘂𝗺 𝗽𝗿𝗼𝗯𝗹𝗲𝗺𝗮 𝗱𝗲 𝗼𝗿𝗴𝗮𝗻𝗶𝘇𝗮𝗰̧𝗮̃𝗼 𝗱𝗮𝘀 𝗮𝘂𝘁𝗮𝗿𝗾𝘂𝗶𝗮𝘀.
𝗡𝗮̃𝗼 𝗲́ 𝗰𝗹𝗮𝗿𝗼 𝗮 𝗾𝘂𝗲𝗺 𝗼𝘀 𝗱𝗲𝗯𝗮𝘁𝗲𝘀 𝘀𝗲 𝗱𝗶𝗿𝗶𝗴𝗲𝗺. 𝗔𝗼𝘀 𝗲𝗹𝗲𝗶𝘁𝗼𝗿𝗲𝘀 𝗲𝗺 𝗲𝗹𝗲𝗶𝗰̧𝗼̃𝗲𝘀 𝗮𝘂𝘁𝗮́𝗿𝗾𝘂𝗶𝗰𝗮𝘀 𝗻𝗮̃𝗼 𝘀𝗲𝗿𝗮́. 𝗡𝗮̃𝗼 𝗲́ 𝗮𝗰𝗲𝗶𝘁𝗮́𝘃𝗲𝗹 𝗾𝘂𝗲 𝗼𝘀 𝗱𝗲𝗯𝗮𝘁𝗲𝘀 𝗶𝗻𝘀𝘁𝗿𝘂𝗺𝗲𝗻𝘁𝗮𝗹𝗶𝘇𝗲𝗺 𝗮𝘀 𝗲𝗹𝗲𝗶𝗰̧𝗼̃𝗲𝘀 𝗮𝘂𝘁𝗮́𝗿𝗾𝘂𝗶𝗰𝗮𝘀. 𝗘𝗹𝗲𝘀 𝗲𝘀𝘁𝗮̃𝗼 𝗻𝗼𝘀 𝗮𝗻𝘁𝗶́𝗽𝗼𝗱𝗮𝘀 𝗱𝗮𝘀 𝗱𝗶𝘀𝗰𝘂𝘀𝘀𝗼̃𝗲𝘀 𝗰𝗼𝗻𝘁𝗲𝗺𝗽𝗼𝗿𝗮̂𝗻𝗲𝗮𝘀 𝘀𝗼𝗯𝗿𝗲 𝗮𝘀 𝗰𝗶𝗱𝗮𝗱𝗲𝘀 𝗶𝗻𝘁𝗲𝗹𝗶𝗴𝗲𝗻𝘁𝗲𝘀 𝗼𝘂 𝗮𝘀 𝗰𝗶𝗱𝗮𝗱𝗲𝘀 𝗱𝗼𝘀 𝗾𝘂𝗶𝗻𝘇𝗲 𝗺𝗶𝗻𝘂𝘁𝗼𝘀. 𝗦𝗼𝗻𝗴𝗱𝗼, 𝗰𝗶𝗱𝗮𝗱𝗲 𝗶𝗻𝘁𝗲𝗹𝗶𝗴𝗲𝗻𝘁𝗲 𝗰𝗼𝗻𝘀𝘁𝗿𝘂𝗶́𝗱𝗮 𝗱𝗲 𝗿𝗮𝗶𝘇 𝗻𝗮 𝗖𝗼𝗿𝗲𝗶𝗮 𝗱𝗼 𝗦𝘂𝗹, 𝗼𝗻𝗱𝗲 𝘁𝘂𝗱𝗼 𝗳𝗼𝗶 𝗽𝗲𝗻𝘀𝗮𝗱𝗼: 𝗮 𝗲𝗹𝗶𝗺𝗶𝗻𝗮𝗰̧𝗮̃𝗼 𝗱𝗼 𝗱𝗲𝘀𝗽𝗲𝗿𝗱𝗶́𝗰𝗶𝗼, 𝗮 𝗿𝗲𝗰𝗶𝗰𝗹𝗮𝗴𝗲𝗺 𝗮𝘂𝘁𝗼𝗺𝗮𝘁𝗶𝘇𝗮𝗱𝗮 𝘀𝗲𝗺 𝘀𝗮𝗶𝗿 𝗱𝗲 𝗰𝗮𝘀𝗮, 𝗺𝗮́𝘅𝗶𝗺𝗼 𝗰𝗼𝗻𝗳𝗼𝗿𝘁𝗼 𝗮𝗼𝘀 𝘀𝗲𝘂𝘀 𝗵𝗮𝗯𝗶𝘁𝗮𝗻𝘁𝗲𝘀, 𝗵𝗼𝗿𝘁𝗮𝘀 𝗶𝗻𝗰𝗹𝘂𝗶́𝗱𝗮𝘀 𝗻𝗮 𝗽𝗮𝗶𝘀𝗮𝗴𝗲𝗺. 𝗘 𝘁𝗼𝗱𝗮𝘃𝗶𝗮, 𝗰𝗶𝗱𝗮𝗱𝗲 𝗶𝗻𝘃𝗶𝘀𝗶́𝘃𝗲𝗹, 𝘀𝗲𝗺 𝗴𝗲𝗻𝘁𝗲, 𝗰𝗶𝗱𝗮𝗱𝗲 𝗺𝗼𝗿𝘁𝗮. 𝗣𝗮𝗿𝗶𝘀, 𝗺𝗲𝗴𝗮𝗰𝗶𝗱𝗮𝗱𝗲 𝗮 𝘀𝗲𝗿 𝘁𝗿𝗮𝗻𝘀𝗳𝗼𝗿𝗺𝗮𝗱𝗮 𝗲𝗺 𝗺𝘂́𝗹𝘁𝗶𝗽𝗹𝗼𝘀 𝗯𝗮𝗶𝗿𝗿𝗼𝘀, 𝘁𝘂𝗱𝗼 𝗮𝗼 𝗮𝗹𝗰𝗮𝗻𝗰𝗲 𝗱𝗲 𝗾𝘂𝗶𝗻𝘇𝗲 𝗺𝗶𝗻𝘂𝘁𝗼𝘀, 𝗰𝗶𝗱𝗮𝗱𝗲 𝘃𝗶𝘀𝗶́𝘃𝗲𝗹.
𝗡𝘂𝗺𝗮 𝗮𝗻𝘁𝗼𝗹𝗼𝗴𝗶𝗮 𝘀𝗼𝗯𝗿𝗲 𝗮 𝗙𝗶𝗹𝗼𝘀𝗼𝗳𝗶𝗮 𝗱𝗮 𝗣𝗮𝗶𝘀𝗮𝗴𝗲𝗺 (𝟮𝟬𝟭𝟯), 𝗔𝗱𝗿𝗶𝗮𝗻𝗮 𝗩𝗲𝗿𝗶́𝘀𝘀𝗶𝗺𝗼 𝗦𝗲𝗿𝗿𝗮̃𝗼 𝗲𝘅𝗽𝗹𝗶𝗰𝗮 𝗾𝘂𝗲 𝗮𝘀 𝗽𝗮𝗶𝘀𝗮𝗴𝗲𝗻𝘀 𝗻𝗮̃𝗼 𝘀𝗮̃𝗼 𝗾𝘂𝗮𝗱𝗿𝗼𝘀 𝗱𝗲 𝘂𝗺𝗮 𝗲𝘅𝗽𝗼𝘀𝗶𝗰̧𝗮̃𝗼, 𝗻𝗮̃𝗼 𝘀𝗮̃𝗼 𝗰𝗼𝗿𝘁𝗶𝗻𝗮𝘀, 𝗻𝗮̃𝗼 𝗱𝗲𝘃𝗲𝗺 𝘀𝗲𝗿 𝗶𝗴𝘂𝗮𝗶𝘀 𝗮 𝘁𝗼𝗱𝗮𝘀, 𝘀𝗮̃𝗼 𝗳𝗮𝘁𝗼𝗿𝗲𝘀 𝗱𝗲 𝗶𝗱𝗲𝗻𝘁𝗶𝗱𝗮𝗱𝗲 𝗽𝗮𝗿𝗮 𝗮𝘀 𝘀𝘂𝗮𝘀 𝗽𝗼𝗽𝘂𝗹𝗮𝗰̧𝗼̃𝗲𝘀: 𝗮 𝗲́𝘁𝗶𝗰𝗮 𝗱𝗮 𝗽𝗮𝗶𝘀𝗮𝗴𝗲𝗺 𝗲𝘅𝗶𝗴𝗲 𝗼 𝗿𝗲𝘀𝗽𝗲𝗶𝘁𝗼 𝗽𝗲𝗹𝗼𝘀 𝘀𝗲𝘂𝘀 𝗮𝘀𝗽𝗲𝘁𝗼𝘀 𝗳𝗶́𝘀𝗶𝗰𝗼𝘀, 𝗺𝗼𝗿𝗳𝗼𝗹𝗼́𝗴𝗶𝗰𝗼𝘀, 𝗰𝘂𝗹𝘁𝘂𝗿𝗮𝗶𝘀, 𝗵𝗶𝘀𝘁𝗼́𝗿𝗶𝗰𝗼𝘀.
𝗢 𝗺𝗲𝘀𝗺𝗼 𝗲́ 𝘃𝗲𝗿𝗱𝗮𝗱𝗲 𝗽𝗮𝗿𝗮 𝗮𝘀 𝗰𝗶𝗱𝗮𝗱𝗲𝘀. 𝗖𝗶𝗱𝗮𝗱𝗲𝘀 𝗲𝘀𝘁𝗶𝗺𝘂𝗹𝗮𝗻𝗱𝗼 𝗼𝘀 𝗻𝗼𝘀𝘀𝗼𝘀 𝘀𝗲𝗻𝘁𝗶𝗱𝗼𝘀 𝗲 𝗮 𝗶𝗺𝗮𝗴𝗶𝗻𝗮𝗰̧𝗮̃𝗼, 𝗰𝗼𝗻𝘀𝗲𝗿𝘃𝗮𝗱𝗮𝘀 𝗲 𝗽𝗲𝗻𝘀𝗮𝗱𝗮𝘀 𝗽𝗮𝗿𝗮 𝗾𝘂𝗲𝗺 𝗻𝗲𝗹𝗮𝘀 𝘁𝗿𝗮𝗯𝗮𝗹𝗵𝗮 𝗲 𝗵𝗮𝗯𝗶𝘁𝗮, 𝗶𝗻𝘀𝗲𝗿𝗶𝗱𝗮𝘀 𝗻𝗮 𝗽𝗮𝗶𝘀𝗮𝗴𝗲𝗺 𝗲 𝗿𝗲𝗹𝗮𝗰𝗶𝗼𝗻𝗮𝗱𝗮𝘀 𝗰𝗼𝗺 𝗲𝗹𝗮 𝗲 𝗰𝗼𝗺 𝗮 𝗻𝗮𝘁𝘂𝗿𝗲𝘇𝗮, 𝗻𝘂𝗺 𝗰𝗼𝗻𝘁𝗶́𝗻𝘂𝗼. 𝗣𝗮𝗶𝘀𝗮𝗴𝗲𝗺 𝗲 𝗰𝗶𝗱𝗮𝗱𝗲. 𝗚𝗼𝗻𝗰̧𝗮𝗹𝗼 𝗥𝗶𝗯𝗲𝗶𝗿𝗼 𝗧𝗲𝗹𝗹𝗲𝘀 𝗲𝘅𝗽𝗹𝗶𝗰𝗼𝘂-𝗻𝗼𝘀 𝗶𝘀𝘁𝗼 𝘁𝘂𝗱𝗼 𝗵𝗮́ 𝗺𝘂𝗶𝘁𝗮𝘀 𝗱𝗲́𝗰𝗮𝗱𝗮𝘀, 𝗮 𝗶𝗱𝗲𝗶𝗮 𝗱𝗲 𝗽𝗮𝗶𝘀𝗮𝗴𝗲𝗺 𝗴𝗹𝗼𝗯𝗮𝗹, 𝗮𝗶𝗻𝗱𝗮 𝗻𝗮̃𝗼 𝘁𝗶𝗻𝗵𝗮𝗺 𝗰𝗼𝗺𝗲𝗰̧𝗮𝗱𝗼 𝗮𝘀 𝗰𝗮𝘁𝗮́𝘀𝘁𝗿𝗼𝗳𝗲𝘀 𝗻𝗮𝘁𝘂𝗿𝗮𝗶𝘀 𝗮𝗾𝘂𝗶 𝗲 𝗹𝗮́ 𝗳𝗼𝗿𝗮. 𝗔𝘀 𝘀𝘂𝗮𝘀 𝗶𝗱𝗲𝗶𝗮𝘀 𝗱𝗲𝘃𝗲𝗺 𝘀𝗲𝗿 𝗲𝘀𝘁𝘂𝗱𝗮𝗱𝗮𝘀, 𝗲𝘅𝗽𝗹𝗶𝗰𝗮𝗱𝗮𝘀, 𝗱𝗲𝗯𝗮𝘁𝗶𝗱𝗮𝘀, 𝗰𝗼𝗻𝘁𝗿𝗮𝗱𝗶𝘁𝗮𝗱𝗮𝘀. 𝗦𝗲𝗿𝗶𝗮𝗺𝗲𝗻𝘁𝗲.
* Professora da Faculdade de Direito da Universidade de Lisboa
IN "EXPRESSO"" 13/09/21
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𝖯𝖾𝖽𝗋𝗈 𝖯𝖺𝗎𝗅𝗈 𝖯𝖾𝗋𝖾𝗂𝗋𝖺 𝖯𝗂𝗇𝗍𝗈, 𝗉𝖾𝗊𝗎𝖾𝗇𝗈 𝗉𝗂𝗇𝗍𝗈𝗋 𝗉𝗈𝗋𝗍𝗎𝗀𝗎𝖾̂𝗌, 𝗉𝗂𝗇𝗍𝖺𝗏𝖺 𝗉𝗈𝗋𝗍𝖺𝗌, 𝗉𝖺𝗋𝖾𝖽𝖾𝗌, 𝗉𝗈𝗋𝗍𝖺𝗂𝗌. 𝖯𝗈𝗋𝖾́𝗆, 𝗉𝖾𝖽𝗂𝗎 𝗉𝖺𝗋𝖺 𝗉𝖺𝗋𝖺𝗋 𝗉𝗈𝗋𝗊𝗎𝖾 𝗉𝗋𝖾𝖿𝖾𝗋𝗂𝗎 𝗉𝗂𝗇𝗍𝖺𝗋 𝗉𝖺𝗇𝖿𝗅𝖾𝗍𝗈𝗌. 𝖯𝖺𝗋𝗍𝗂𝗇𝖽𝗈 𝗉𝖺𝗋𝖺 𝖯𝗂𝗋𝖺𝖼𝗂𝖼𝖺𝖻𝖺, 𝗉𝗂𝗇𝗍𝗈𝗎 𝗉𝗋𝖺𝗍𝖾𝗅𝖾𝗂𝗋𝖺𝗌 𝗉𝖺𝗋𝖺 𝗉𝗈𝖽𝖾𝗋 𝗉𝗋𝗈𝗀𝗋𝖾𝖽𝗂𝗋. 𝖯𝗈𝗌𝗍𝖾𝗋𝗂𝗈𝗋𝗆𝖾𝗇𝗍𝖾, 𝗉𝖺𝗋𝗍𝗂𝗎 𝗉𝖺𝗋𝖺 𝖯𝗂𝗋𝖺𝗉𝗈𝗋𝖺. 𝖯𝖾𝗋𝗇𝗈𝗂𝗍𝖺𝗇𝖽𝗈, 𝗉𝗋𝗈𝗌𝗌𝖾𝗀𝗎𝗂𝗎 𝗉𝖺𝗋𝖺 𝖯𝖺𝗋𝖺𝗇𝖺𝗏𝖺𝗂́, 𝗉𝗈𝗂𝗌 𝗉𝗋𝖾𝗍𝖾𝗇𝖽𝗂𝖺 𝗉𝗋𝖺𝗍𝗂𝖼𝖺𝗋 𝗉𝗂𝗇𝗍𝗎𝗋𝖺𝗌 𝗉𝖺𝗋𝖺 𝗉𝖾𝗌𝗌𝗈𝖺𝗌 𝗉𝗈𝖻𝗋𝖾𝗌. 𝖯𝗈𝗋𝖾́𝗆, 𝗉𝗈𝗎𝖼𝗈 𝗉𝗋𝖺𝗍𝗂𝖼𝗈𝗎, 𝗉𝗈𝗋𝗊𝗎𝖾 𝖯𝖺𝖽𝗋𝖾 𝖯𝖺𝗎𝗅𝗈 𝗉𝖾𝖽𝗂𝗎 𝗉𝖺𝗋𝖺 𝗉𝗂𝗇𝗍𝖺𝗋 𝗉𝖺𝗇𝖾𝗅𝖺𝗌, 𝗉𝗈𝗋𝖾́𝗆 𝗉𝗈𝗌𝗍𝖾𝗋𝗂𝗈𝗋𝗆𝖾𝗇𝗍𝖾 𝗉𝗂𝗇𝗍𝗈𝗎 𝗉𝗋𝖺𝗍𝗈𝗌 𝗉𝖺𝗋𝖺 𝗉𝗈𝖽𝖾𝗋 𝗉𝖺𝗀𝖺𝗋 𝗉𝗋𝗈𝗆𝖾𝗌𝗌𝖺𝗌.
𝖯𝖺́𝗅𝗂𝖽𝗈, 𝗉𝗈𝗋𝖾́𝗆 𝗉𝖾𝗋𝗌𝖾𝗏𝖾𝗋𝖺𝗇𝗍𝖾, 𝗉𝗋𝖾𝖿𝖾𝗋𝗂𝗎 𝗉𝖺𝗋𝗍𝗂𝗋 𝗉𝖺𝗋𝖺 𝖯𝗈𝗋𝗍𝗎𝗀𝖺𝗅 𝗉𝖺𝗋𝖺 𝗉𝖾𝖽𝗂𝗋 𝗉𝖾𝗋𝗆𝗂𝗌𝗌𝖺̃𝗈 𝗉𝖺𝗋𝖺 𝗉𝖺𝗉𝖺𝗂 𝗉𝖺𝗋𝖺 𝗉𝖾𝗋𝗆𝖺𝗇𝖾𝖼𝖾𝗋 𝗉𝗋𝖺𝗍𝗂𝖼𝖺𝗇𝖽𝗈 𝗉𝗂𝗇𝗍𝗎𝗋𝖺𝗌, 𝗉𝗋𝖾𝖿𝖾𝗋𝗂𝗇𝖽𝗈, 𝗉𝗈𝗋𝗍𝖺𝗇𝗍𝗈, 𝖯𝖺𝗋𝗂𝗌. 𝖯𝖺𝗋𝗍𝗂𝗇𝖽𝗈 𝗉𝖺𝗋𝖺 𝖯𝖺𝗋𝗂𝗌, 𝗉𝖺𝗌𝗌𝗈𝗎 𝗉𝖾𝗅𝗈𝗌 𝖯𝗂𝗋𝗂𝗇𝖾𝗎𝗌, 𝗉𝗈𝗂𝗌 𝗉𝗋𝖾𝗍𝖾𝗇𝖽𝗂𝖺 𝗉𝗂𝗇𝗍𝖺́-𝗅𝗈𝗌. 𝖯𝖺𝗋𝖾𝖼𝗂𝖺𝗆 𝗉𝗅𝖺́𝖼𝗂𝖽𝗈𝗌, 𝗉𝗈𝗋𝖾́𝗆, 𝗉𝖾𝗌𝖺𝗋𝗈𝗌𝗈, 𝗉𝖾𝗋𝖼𝖾𝖻𝖾𝗎 𝗉𝖾𝗇𝗁𝖺𝗌𝖼𝗈𝗌 𝗉𝖾𝖽𝗋𝖾𝗀𝗈𝗌𝗈𝗌, 𝗉𝗋𝖾𝖿𝖾𝗋𝗂𝗇𝖽𝗈 𝗉𝗂𝗇𝗍𝖺́-𝗅𝗈𝗌 𝗉𝖺𝗋𝖼𝗂𝖺𝗅𝗆𝖾𝗇𝗍𝖾, 𝗉𝗈𝗂𝗌 𝗉𝖾𝗋𝗂𝗀𝗈𝗌𝖺𝗌 𝗉𝖾𝖽𝗋𝖺𝗌 𝗉𝖺𝗋𝖾𝖼𝗂𝖺𝗆 𝗉𝗋𝖾𝖼𝗂𝗉𝗂𝗍𝖺𝗋-𝗌𝖾 𝗉𝗋𝗂𝗇𝖼𝗂𝗉𝖺𝗅𝗆𝖾𝗇𝗍𝖾 𝗉𝖾𝗅𝗈 𝖯𝗂𝖼𝗈, 𝗉𝗈𝗋𝗊𝗎𝖾 𝗉𝖺𝗌𝗍𝗈𝗋𝖾𝗌 𝗉𝖺𝗌𝗌𝖺𝗏𝖺𝗆 𝗉𝖾𝗅𝖺𝗌 𝗉𝗂𝖼𝖺𝖽𝖺𝗌 𝗉𝖺𝗋𝖺 𝗉𝖾𝖽𝗂𝗋𝖾𝗆 𝗉𝗈𝗎𝗌𝖺𝖽𝖺, 𝗉𝗋𝗈𝗏𝗈𝖼𝖺𝗇𝖽𝗈 𝗉𝗋𝗈𝗏𝖺𝗏𝖾𝗅𝗆𝖾𝗇𝗍𝖾 𝗉𝖾𝗊𝗎𝖾𝗇𝖺𝗌 𝗉𝖾𝗋𝖿𝗎𝗋𝖺𝖼̧𝗈̃𝖾𝗌, 𝗉𝗈𝗂𝗌, 𝗉𝖾𝗅𝗈 𝗉𝖺𝗌𝗌𝗈 𝗉𝖾𝗋𝖼𝗈𝗋𝗋𝗂𝖺𝗆, 𝗉𝖾𝗋𝗆𝖺𝗇𝖾𝗇𝗍𝖾𝗆𝖾𝗇𝗍𝖾, 𝗉𝗈𝗌𝗌𝖺𝗇𝗍𝖾𝗌 𝗉𝗈𝗍𝗋𝖺𝗇𝖼𝖺𝗌. 𝖯𝗂𝗌𝖺𝗇𝖽𝗈 𝖯𝖺𝗋𝗂𝗌, 𝗉𝖾𝖽𝗂𝗎 𝗉𝖾𝗋𝗆𝗂𝗌𝗌𝖺̃𝗈 𝗉𝖺𝗋𝖺 𝗉𝗂𝗇𝗍𝖺𝗋 𝗉𝖺𝗅𝖺́𝖼𝗂𝗈𝗌 𝗉𝗈𝗆𝗉𝗈𝗌𝗈𝗌, 𝗉𝗋𝗈𝖼𝗎𝗋𝖺𝗇𝖽𝗈 𝗉𝗈𝗇𝗍𝗈𝗌 𝗉𝗂𝗍𝗈𝗋𝖾𝗌𝖼𝗈𝗌, 𝗉𝗈𝗂𝗌, 𝗉𝖺𝗋𝖺 𝗉𝗂𝗇𝗍𝖺𝗋 𝗉𝗈𝖻𝗋𝖾𝗓𝖺, 𝗉𝗋𝖾𝖼𝗂𝗌𝖺𝗋𝗂𝖺 𝗉𝖾𝗋𝖼𝗈𝗋𝗋𝖾𝗋 𝗉𝗈𝗇𝗍𝗈𝗌 𝗉𝖾𝗋𝗂𝗀𝗈𝗌𝗈𝗌, 𝗉𝖾𝗌𝗍𝗂𝗅𝖾𝗇𝗍𝗈𝗌, 𝗉𝖾𝗋𝗇𝗂𝖼𝗂𝗈𝗌𝗈𝗌, 𝗉𝗋𝖾𝖿𝖾𝗋𝗂𝗇𝖽𝗈 𝖯𝖾𝖽𝗋𝗈 𝖯𝖺𝗎𝗅𝗈 𝗉𝗋𝖾𝖼𝖺𝗏𝖾𝗋-𝗌𝖾. 𝖯𝗋𝗈𝖿𝗎𝗇𝖽𝖺𝗌 𝗉𝗋𝗂𝗏𝖺𝖼̧𝗈̃𝖾𝗌 𝗉𝖺𝗌𝗌𝗈𝗎 𝖯𝖾𝖽𝗋𝗈 𝖯𝖺𝗎𝗅𝗈. 𝖯𝖾𝗇𝗌𝖺𝗏𝖺 𝗉𝗈𝖽𝖾𝗋 𝗉𝗋𝗈𝗌𝗌𝖾𝗀𝗎𝗂𝗋 𝗉𝗂𝗇𝗍𝖺𝗇𝖽𝗈, 𝗉𝗈𝗋𝖾́𝗆, 𝗉𝗋𝖾𝗍𝖺𝗌 𝗉𝗋𝖾𝗏𝗂𝗌𝗈̃𝖾𝗌 𝗉𝖺𝗌𝗌𝖺𝗏𝖺𝗆 𝗉𝖾𝗅𝗈 𝗉𝖾𝗇𝗌𝖺𝗆𝖾𝗇𝗍𝗈, 𝗉𝗋𝗈𝗏𝗈𝖼𝖺𝗇𝖽𝗈 𝗉𝗋𝗈𝖿𝗎𝗇𝖽𝗈𝗌 𝗉𝖾𝗌𝖺𝗋𝖾𝗌, 𝗉𝗋𝗂𝗇𝖼𝗂𝗉𝖺𝗅𝗆𝖾𝗇𝗍𝖾 𝗉𝗈𝗋 𝗉𝗋𝖾𝗍𝖾𝗇𝖽𝖾𝗋 𝗉𝖺𝗋𝗍𝗂𝗋 𝗉𝗋𝗈𝗇𝗍𝖺𝗆𝖾𝗇𝗍𝖾 𝗉𝖺𝗋𝖺 𝖯𝗈𝗋𝗍𝗎𝗀𝖺𝗅. 𝖯𝗈𝗏𝗈 𝗉𝗋𝖾𝗏𝗂𝖽𝖾𝗇𝗍𝖾! 𝖯𝖾𝗇𝗌𝖺𝗏𝖺 𝖯𝖾𝖽𝗋𝗈 𝖯𝖺𝗎𝗅𝗈… "𝖯𝗋𝖾𝖼𝗂𝗌𝗈 𝗉𝖺𝗋𝗍𝗂𝗋 𝗉𝖺𝗋𝖺 𝖯𝗈𝗋𝗍𝗎𝗀𝖺𝗅 𝗉𝗈𝗋𝗊𝗎𝖾 𝗉𝖾𝖽𝖾𝗆 𝗉𝖺𝗋𝖺 𝗉𝗋𝖾𝗌𝗍𝗂𝗀𝗂𝖺𝗋 𝗉𝖺𝗍𝗋𝗂́𝖼𝗂𝗈𝗌, 𝗉𝗂𝗇𝗍𝖺𝗇𝖽𝗈 𝗉𝗋𝗂𝗇𝖼𝗂𝗉𝖺𝗂𝗌 𝗉𝗈𝗋𝗍𝗈𝗌 𝗉𝗈𝗋𝗍𝗎𝗀𝗎𝖾𝗌𝖾𝗌".
𝖯𝖺𝗌𝗌𝖺𝗇𝖽𝗈 𝗉𝖾𝗅𝖺 𝗉𝗋𝗂𝗇𝖼𝗂𝗉𝖺𝗅 𝗉𝗋𝖺𝖼̧𝖺 𝗉𝖺𝗋𝗂𝗌𝗂𝖾𝗇𝗌𝖾, 𝗉𝖺𝗋𝗍𝗂𝗇𝖽𝗈 𝗉𝖺𝗋𝖺 𝖯𝗈𝗋𝗍𝗎𝗀𝖺𝗅, 𝗉𝖾𝖽𝗂𝗎 𝗉𝖺𝗋𝖺 𝗉𝗂𝗇𝗍𝖺𝗋 𝗉𝖾𝗊𝗎𝖾𝗇𝗈𝗌 𝗉𝖺́𝗌𝗌𝖺𝗋𝗈𝗌 𝗉𝗋𝖾𝗍𝗈𝗌. 𝖯𝗂𝗇𝗍𝗈𝗎, 𝗉𝗋𝗈𝗌𝗍𝗋𝗈𝗎 𝗉𝖾𝗋𝖺𝗇𝗍𝖾 𝗉𝗈𝗅𝗂́𝗍𝗂𝖼𝗈𝗌, 𝗉𝗈𝗉𝗎𝗅𝖺𝗋𝖾𝗌, 𝗉𝗈𝖻𝗋𝖾𝗌, 𝗉𝖾𝖽𝗂𝗇𝗍𝖾𝗌. - "𝖯𝖺𝗋𝗂𝗌! 𝖯𝖺𝗋𝗂𝗌!" 𝖯𝗋𝗈𝖿𝖾𝗋𝗂𝗎 𝖯𝖾𝖽𝗋𝗈 𝖯𝖺𝗎𝗅𝗈. -"𝖯𝖺𝗋𝗍𝗈, 𝗉𝗈𝗋𝖾́𝗆 𝗉𝖾𝗇𝗌𝗈 𝗉𝗂𝗇𝗍𝖺́-𝗅𝖺 𝗉𝖾𝗋𝗆𝖺𝗇𝖾𝗇𝗍𝖾𝗆𝖾𝗇𝗍𝖾, 𝗉𝗈𝗂𝗌 𝗉𝗋𝖾𝗍𝖾𝗇𝖽𝗈 𝗉𝗋𝗈𝗀𝗋𝖾𝖽𝗂𝗋". 𝖯𝗂𝗌𝖺𝗇𝖽𝗈 𝖯𝗈𝗋𝗍𝗎𝗀𝖺𝗅, 𝖯𝖾𝖽𝗋𝗈 𝖯𝖺𝗎𝗅𝗈 𝗉𝗋𝗈𝖼𝗎𝗋𝗈𝗎 𝗉𝖾𝗅𝗈𝗌 𝗉𝖺𝗂𝗌, 𝗉𝗈𝗋𝖾́𝗆, 𝖯𝖺𝗉𝖺𝗂 𝖯𝗋𝗈𝖼𝗈́𝗉𝗂𝗈 𝗉𝖺𝗋𝗍𝗂𝗋𝖺 𝗉𝖺𝗋𝖺 𝖯𝗋𝗈𝗏𝗂́𝗇𝖼𝗂𝖺. 𝖯𝖾𝖽𝗂𝗇𝖽𝗈 𝗉𝗋𝗈𝗏𝗂𝗌𝗈̃𝖾𝗌, 𝗉𝖺𝗋𝗍𝗂𝗎 𝗉𝗋𝗈𝗇𝗍𝖺𝗆𝖾𝗇𝗍𝖾, 𝗉𝗈𝗂𝗌 𝗉𝗋𝖾𝖼𝗂𝗌𝖺𝗏𝖺 𝗉𝖾𝖽𝗂𝗋 𝗉𝖾𝗋𝗆𝗂𝗌𝗌𝖺̃𝗈 𝗉𝖺𝗋𝖺 𝖯𝖺𝗉𝖺𝗂 𝖯𝗋𝗈𝖼𝗈́𝗉𝗂𝗈 𝗉𝖺𝗋𝖺 𝗉𝗋𝗈𝗌𝗌𝖾𝗀𝗎𝗂𝗋 𝗉𝗋𝖺𝗍𝗂𝖼𝖺𝗇𝖽𝗈 𝗉𝗂𝗇𝗍𝗎𝗋𝖺𝗌. 𝖯𝗋𝗈𝖿𝗎𝗇𝖽𝖺𝗆𝖾𝗇𝗍𝖾 𝗉𝖺́𝗅𝗂𝖽𝗈, 𝗉𝖾𝗋𝖿𝖾𝗓 𝗉𝖾𝗋𝖼𝗎𝗋𝗌𝗈 𝗉𝖾𝗋𝖼𝗈𝗋𝗋𝗂𝖽𝗈 𝗉𝖾𝗅𝗈 𝗉𝖺𝗂. 𝖯𝖾𝖽𝗂𝗇𝖽𝗈 𝗉𝖾𝗋𝗆𝗂𝗌𝗌𝖺̃𝗈, 𝗉𝖾𝗇𝖾𝗍𝗋𝗈𝗎 𝗉𝖾𝗅𝗈 𝗉𝗈𝗋𝗍𝖺̃𝗈 𝗉𝗋𝗂𝗇𝖼𝗂𝗉𝖺𝗅. 𝖯𝗈𝗋𝖾́𝗆, 𝖯𝖺𝗉𝖺𝗂 𝖯𝗋𝗈𝖼𝗈́𝗉𝗂𝗈 𝗉𝗎𝗑𝖺𝗇𝖽𝗈-𝗈 𝗉𝖾𝗅𝗈 𝗉𝖾𝗌𝖼𝗈𝖼̧𝗈 𝗉𝗋𝗈𝖿𝖾𝗋𝗂𝗎: -𝖯𝖾𝖽𝗂𝗌𝗍𝖾 𝗉𝖾𝗋𝗆𝗂𝗌𝗌𝖺̃𝗈 𝗉𝖺𝗋𝖺 𝗉𝗋𝖺𝗍𝗂𝖼𝖺𝗋 𝗉𝗂𝗇𝗍𝗎𝗋𝖺, 𝗉𝗈𝗋𝖾́𝗆, 𝗉𝗋𝖺𝗍𝗂𝖼𝖺𝗇𝖽𝗈, 𝗉𝗂𝗇𝗍𝖺𝗌 𝗉𝗂𝗈𝗋. 𝖯𝗋𝗂𝗆𝗈 𝖯𝗂𝗇𝖽𝗎𝖼𝖺 𝗉𝗂𝗇𝗍𝗈𝗎 𝗉𝖾𝗋𝖿𝖾𝗂𝗍𝖺𝗆𝖾𝗇𝗍𝖾 𝗉𝗋𝗂𝗆𝖺 𝖯𝖾𝗍𝗎́𝗇𝗂𝖺. 𝖯𝗈𝗋𝗊𝗎𝖾 𝗉𝗂𝗇𝗍𝖺𝗌 𝗉𝗈𝗋𝖼𝖺𝗋𝗂𝖺𝗌? -𝖯𝖺𝗉𝖺𝗂, 𝗉𝗋𝗈𝖿𝖾𝗋𝗂𝗎 𝖯𝖾𝖽𝗋𝗈 𝖯𝖺𝗎𝗅𝗈, 𝗉𝗂𝗇𝗍𝗈 𝗉𝗈𝗋𝗊𝗎𝖾 𝗉𝖾𝗋𝗆𝗂𝗍𝗂𝗌𝗍𝖾, 𝗉𝗈𝗋𝖾́𝗆 𝗉𝗋𝖾𝖿𝖾𝗋𝗂𝗇𝖽𝗈, 𝗉𝗈𝖽𝖾𝗋𝖾𝗂 𝗉𝗋𝗈𝖼𝗎𝗋𝖺𝗋 𝗉𝗋𝗈𝖿𝗂𝗌𝗌𝖺̃𝗈 𝗉𝗋𝗈́𝗉𝗋𝗂𝖺 𝗉𝖺𝗋𝖺 𝗉𝗈𝖽𝖾𝗋 𝗉𝗋𝗈𝗏𝖺𝗋 𝗉𝖾𝗋𝗌𝖾𝗏𝖾𝗋𝖺𝗇𝖼̧𝖺, 𝗉𝗈𝗂𝗌 𝗉𝗋𝖾𝗍𝖾𝗇𝖽𝗈 𝗉𝖾𝗋𝗆𝖺𝗇𝖾𝖼𝖾𝗋 𝗉𝗈𝗋 𝖯𝗈𝗋𝗍𝗎𝗀𝖺𝗅. 𝖯𝖾𝗀𝖺𝗇𝖽𝗈 𝖯𝖾𝖽𝗋𝗈 𝖯𝖺𝗎𝗅𝗈 𝗉𝖾𝗅𝗈 𝗉𝗎𝗅𝗌𝗈, 𝗉𝖾𝗇𝖾𝗍𝗋𝗈𝗎 𝗉𝖾𝗅𝗈 𝗉𝖺𝗍𝖺𝗆𝖺𝗋, 𝗉𝗋𝗈𝖼𝗎𝗋𝖺𝗇𝖽𝗈 𝗉𝖾𝗅𝗈𝗌 𝗉𝖾𝗋𝗍𝖾𝗇𝖼𝖾𝗌, 𝗉𝖺𝗋𝗍𝗂𝗎 𝗉𝗋𝗈𝗇𝗍𝖺𝗆𝖾𝗇𝗍𝖾, 𝗉𝗈𝗂𝗌 𝗉𝗋𝖾𝗍𝖾𝗇𝖽𝗂𝖺 𝗉𝗈̂𝗋 𝖯𝖾𝖽𝗋𝗈 𝖯𝖺𝗎𝗅𝗈 𝗉𝖺𝗋𝖺 𝗉𝗋𝖺𝗍𝗂𝖼𝖺𝗋 𝗉𝗋𝗈𝖿𝗂𝗌𝗌𝖺̃𝗈 𝗉𝖾𝗋𝖿𝖾𝗂𝗍𝖺: 𝗉𝖾𝖽𝗋𝖾𝗂𝗋𝗈! 𝖯𝖺𝗌𝗌𝖺𝗇𝖽𝗈 𝗉𝖾𝗅𝖺 𝗉𝗈𝗇𝗍𝖾 𝗉𝗋𝖾𝖼𝗂𝗌𝖺𝗋𝖺𝗆 𝗉𝖾𝗌𝖼𝖺𝗋 𝗉𝖺𝗋𝖺 𝗉𝗈𝖽𝖾𝗋𝖾𝗆 𝗉𝗋𝗈𝗌𝗌𝖾𝗀𝗎𝗂𝗋 𝗉𝖾𝗋𝖾𝗀𝗋𝗂𝗇𝖺𝗇𝖽𝗈. 𝖯𝗋𝗂𝗆𝖾𝗂𝗋𝗈, 𝗉𝖾𝗀𝖺𝗋𝖺𝗆 𝗉𝖾𝗂𝗑𝖾𝗌 𝗉𝖾𝗊𝗎𝖾𝗇𝗈𝗌, 𝗉𝗈𝗋𝖾́𝗆, 𝗉𝖺𝗌𝗌𝖺𝗇𝖽𝗈 𝗉𝗈𝗎𝖼𝗈 𝗉𝗋𝖺𝗓𝗈, 𝗉𝖾𝗀𝖺𝗋𝖺𝗆 𝗉𝖺𝖼𝗎𝗌, 𝗉𝗂𝖺𝗉𝖺𝗋𝖺𝗌, 𝗉𝗂𝗋𝖺𝗋𝗎𝖼𝗎𝗌. 𝖯𝖺𝗋𝗍𝗂𝗇𝖽𝗈 𝗉𝖾𝗅𝖺 𝗉𝗂𝖼𝖺𝖽𝖺 𝗉𝗋𝗈́𝗑𝗂𝗆𝖺, 𝗉𝗈𝗂𝗌 𝗉𝗋𝖾𝗍𝖾𝗇𝖽𝗂𝖺𝗆 𝗉𝖾𝗋𝗇𝗈𝗂𝗍𝖺𝗋 𝗉𝖾𝗋𝗍𝗂𝗇𝗁𝗈, 𝗉𝖺𝗋𝖺 𝗉𝗋𝗈𝖼𝗎𝗋𝖺𝗋 𝗉𝗋𝗂𝗆𝗈 𝖯𝖾́𝗋𝗂𝖼𝗅𝖾𝗌 𝗉𝗋𝗂𝗆𝖾𝗂𝗋𝗈.
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𝓐𝓝𝓓𝓡𝓔𝓘𝓐 𝓛𝓔𝓐𝓛
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** Infelizmente dá vontade para rir o drama das mulheres que se prostituem, é a humanidade que temos!
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* Este podcast é uma iniciativa da Representação da Comissão Europeia em Portugal, em colaboração com a rede Women in Business
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𝑆𝑖𝑛𝑜𝑝𝑠𝑒:
𝐼𝑛𝑔𝑙𝑎𝑡𝑒𝑟𝑟𝑎, 𝑠𝑒́𝑐𝑢𝑙𝑜 𝑋𝐼𝑉. 𝑂 𝑟𝑒𝑖 𝐸𝑑𝑢𝑎𝑟𝑑𝑜 𝐼𝐼𝐼 𝑙𝑒𝑣𝑎 𝑎 𝑛𝑎𝑐̧𝑎̃𝑜 𝑎̀ 𝐺𝑢𝑒𝑟𝑟𝑎 𝑑𝑜𝑠 𝐶𝑒𝑚 𝐴𝑛𝑜𝑠 𝑐𝑜𝑛𝑡𝑟𝑎 𝑎 𝐹𝑟𝑎𝑛𝑐̧𝑎. 𝑃𝑜𝑢𝑐𝑜 𝑑𝑒𝑝𝑜𝑖𝑠, 𝑎 𝑃𝑒𝑠𝑡𝑒 𝑁𝑒𝑔𝑟𝑎 𝑐𝑜𝑚𝑒𝑐̧𝑎 𝑎 𝑎𝑙𝑎𝑠𝑡𝑟𝑎𝑟-𝑠𝑒 𝑝𝑒𝑙𝑎 𝐸𝑢𝑟𝑜𝑝𝑎. 𝐸́ 𝑛𝑒𝑠𝑡𝑒 𝑐𝑒𝑛𝑎́𝑟𝑖𝑜 𝑞𝑢𝑒 𝐶𝑎𝑟𝑖𝑠, 𝑢𝑚𝑎 𝑚𝑢𝑙𝘩𝑒𝑟 𝑣𝑖𝑠𝑖𝑜𝑛𝑎́𝑟𝑖𝑎, 𝑒 𝑜 𝑠𝑒𝑢 𝑎𝑚𝑎𝑛𝑡𝑒 𝑀𝑒𝑟𝑡𝘩𝑖𝑛 𝑣𝑎̃𝑜 𝑖𝑛𝑠𝑝𝑖𝑟𝑎𝑟 𝐾𝑖𝑛𝑔𝑠𝑏𝑟𝑖𝑑𝑔𝑒 𝑒 𝑒𝑛𝑓𝑟𝑒𝑛𝑡𝑎𝑟 𝑎𝑠 𝑚𝑎𝑖𝑠 𝑝𝑜𝑑𝑒𝑟𝑜𝑠𝑎𝑠 𝑓𝑜𝑟𝑐̧𝑎 𝑑𝑜 𝑠𝑒𝑢 𝑡𝑒𝑚𝑝𝑜, 𝑎 𝐼𝑔𝑟𝑒𝑗𝑎 𝑒 𝑎 𝐶𝑜𝑟𝑜𝑎, 𝑙𝑢𝑡𝑎𝑛𝑑𝑜 𝑝𝑎𝑟𝑎 𝑠𝑎𝑙𝑣𝑎𝑟 𝑎 𝑐𝑖𝑑𝑎𝑑𝑒 𝑑𝑎 𝑟𝑢𝑖́𝑛𝑎.
𝐸𝑙𝑒𝑛𝑐𝑜:
𝐶𝑦𝑛𝑡𝘩𝑖𝑎 𝑁𝑖𝑥𝑜𝑛
𝑀𝑖𝑟𝑎𝑛𝑑𝑎 𝑅𝑖𝑐𝘩𝑎𝑟𝑑𝑠𝑜𝑛
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𝑃𝑒𝑡𝑒𝑟 𝐹𝑖𝑟𝑡
𝐶𝘩𝑎𝑟𝑙𝑜𝑡𝑡𝑒 𝑅𝑖𝑙𝑒𝑦
𝑇𝑜𝑚 𝑊𝑒𝑠𝑡𝑜𝑛-𝐽𝑜𝑛𝑒𝑠
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