MIRIAM ALVES

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Reflexões de 20 anos como

repórter em construção

Há uma grande exposição na reportagem televisiva e uma tremenda confiança depositada pelos que abrem as portas a uma equipa de reportagem, muitas vezes em situações de enorme vulnerabilidade. Por vezes sem terem uma completa noção da exposição a que se sujeitam e dos impactos na sua vida a curto e longo prazo. Temos a obrigação de honrar essa confiança o melhor que saibamos.

𝒬𝓊𝒾𝓈 𝓈𝑒𝓇 𝒿𝑜𝓇𝓃𝒶𝓁𝒾𝓈𝓉𝒶 𝒹𝑒𝓈𝒹𝑒 𝓆𝓊𝑒 𝓂𝑒 𝓁𝑒𝓂𝒷𝓇𝑜, 𝒶𝓉𝑒́ 𝓅𝑒𝓇𝒸𝑒𝒷𝑒𝓇 𝓆𝓊𝑒 𝑜 𝓆𝓊𝑒 𝓆𝓊𝑒𝓇𝒾𝒶 𝓈𝑒𝓇 𝑒𝓇𝒶 𝓇𝑒𝓅𝑜́𝓇𝓉𝑒𝓇. 𝒫𝒶𝓈𝓈𝑒𝒾 𝓅𝑒𝓁𝒶 𝒾𝓂𝓅𝓇𝑒𝓃𝓈𝒶 𝒶𝓃𝓉𝑒𝓈 𝒹𝑒 𝒹𝑒𝓈𝒸𝑜𝒷𝓇𝒾𝓇 𝒶 𝒶𝓁𝓆𝓊𝒾𝓂𝒾𝒶 𝒹𝒶 𝓂𝒾𝓈𝓉𝓊𝓇𝒶 𝒹𝑒 𝑒𝓈𝒸𝓇𝒾𝓉𝒶, 𝓈𝑜𝓂 𝑒 𝒾𝓂𝒶𝑔𝑒𝓂.

𝟷. 𝒞𝒽𝑒𝑔𝓊𝑒𝒾 𝒶̀ 𝒮𝐼𝒞 𝑒𝓂 𝟷𝟿𝟿𝟿. 𝒯𝒾𝓃𝒽𝒶 𝟸𝟶 𝒶𝓃𝑜𝓈, 𝓈𝑜𝒷𝓇𝒶𝓋𝒶-𝓂𝑒 𝓉𝑒𝓂𝓅𝑜 𝑒 𝓃𝓊𝓃𝒸𝒶 𝓂𝑒 𝓅𝒶𝓇𝑒𝒸𝒾𝒶 𝒹𝑒𝓂𝒶𝒾𝓈 𝑜 𝓉𝑒𝓂𝓅𝑜 𝓅𝒶𝓈𝓈𝒶𝒹𝑜 𝓃𝒶 𝓇𝑒𝒹𝒶𝒸̧𝒶̃𝑜, 𝓉𝒶𝓁𝓋𝑒𝓏 𝓅𝑜𝓇 𝑜𝓁𝒽𝒶𝓇 𝒶̀ 𝓋𝑜𝓁𝓉𝒶 𝑒 𝓋𝑒𝓇 𝓂𝓊𝒾𝓉𝒶 𝑔𝑒𝓃𝓉𝑒 𝒸𝑜𝓂 𝓆𝓊𝑒𝓂 𝒶𝓅𝓇𝑒𝓃𝒹𝑒𝓇. 𝒯𝑒𝓇𝓂𝒾𝓃𝒶𝓋𝒶 𝑜 𝓉𝓇𝒶𝒷𝒶𝓁𝒽𝑜 𝑒 𝓂𝑒𝓇𝑔𝓊𝓁𝒽𝒶𝓋𝒶 𝓃𝒶𝓈 𝒢𝓇𝒶𝓃𝒹𝑒𝓈 𝑅𝑒𝓅𝑜𝓇𝓉𝒶𝑔𝑒𝓃𝓈 𝒹𝑜 𝒶𝓇𝓆𝓊𝒾𝓋𝑜. 𝒜𝓅𝓇𝑒𝓃𝒹𝒾 𝓂𝓊𝒾𝓉𝑜 𝒶 𝓋𝑒𝓇, 𝒸𝑜𝓂 𝒶𝓉𝑒𝓃𝒸̧𝒶̃𝑜 𝑒 𝒸𝓊𝓇𝒾𝑜𝓈𝒾𝒹𝒶𝒹𝑒, 𝑜𝓈 𝓉𝓇𝒶𝒷𝒶𝓁𝒽𝑜𝓈 𝒹𝑒 𝑜𝓊𝓉𝓇𝑜𝓈 𝒿𝑜𝓇𝓃𝒶𝓁𝒾𝓈𝓉𝒶𝓈, 𝓇𝑒𝓅𝑜́𝓇𝓉𝑒𝓇𝑒𝓈 𝒹𝑒 𝒾𝓂𝒶𝑔𝑒𝓂 𝑒 𝑒𝒹𝒾𝓉𝑜𝓇𝑒𝓈 𝒹𝑒 𝒾𝓂𝒶𝑔𝑒𝓂, 𝓉𝑒𝓃𝓉𝒶𝓃𝒹𝑜 𝒶𝒹𝒾𝓋𝒾𝓃𝒽𝒶𝓇-𝓁𝒽𝑒𝓈 𝒶𝓈 𝒸𝑜𝓈𝓉𝓊𝓇𝒶𝓈. 𝒩𝒶𝓈 𝓇𝑒𝓅𝑜𝓇𝓉𝒶𝑔𝑒𝓃𝓈 𝓆𝓊𝑒 𝒻𝒾𝓏 𝒶𝑜 𝓁𝑜𝓃𝑔𝑜 𝒹𝑜𝓈 𝓂𝒶𝒾𝓈 𝒹𝑒 𝟸𝟶 𝒶𝓃𝑜𝓈 𝓈𝑒𝑔𝓊𝒾𝓃𝓉𝑒𝓈, 𝓇𝑒𝒸𝑜𝓇𝓇𝒾 𝒸𝑜𝓂 𝒻𝓇𝑒𝓆𝓊𝑒̂𝓃𝒸𝒾𝒶 𝒶𝑜𝓈 𝑒𝓃𝓈𝒾𝓃𝒶𝓂𝑒𝓃𝓉𝑜𝓈 𝓆𝓊𝑒 𝓇𝑒𝓉𝒾𝓇𝑒𝒾 𝒹𝑒𝓈𝓈𝑒𝓈 𝓅𝓇𝒾𝓂𝑒𝒾𝓇𝑜𝓈 𝑒 𝒾𝓃𝒾𝒸𝒾𝒶́𝓉𝒾𝒸𝑜𝓈 𝓋𝒾𝓈𝒾𝑜𝓃𝒶𝓂𝑒𝓃𝓉𝑜𝓈. 𝒜𝓅𝑒𝓈𝒶𝓇 𝒹𝑜 𝓉𝑒𝓂𝓅𝑜 𝒹𝑜𝓈 𝓂𝑒𝓊𝓈 𝒹𝒾𝒶𝓈 𝓉𝑒𝓇, 𝑒𝓃𝓉𝓇𝑒𝓉𝒶𝓃𝓉𝑜, 𝑒𝓃𝒸𝑜𝓁𝒽𝒾𝒹𝑜, 𝓉𝑒𝓃𝓉𝑜 𝓋𝑒𝓇, 𝓁𝑒𝓇 𝑒 𝑜𝓊𝓋𝒾𝓇 𝑜 𝓉𝓇𝒶𝒷𝒶𝓁𝒽𝑜 𝒹𝑒 𝑜𝓊𝓉𝓇𝑜𝓈 𝓇𝑒𝓅𝑜́𝓇𝓉𝑒𝓇𝑒𝓈, 𝒹𝑒 𝒹𝒾𝒻𝑒𝓇𝑒𝓃𝓉𝑒𝓈 𝒾𝒹𝒶𝒹𝑒𝓈, 𝓂𝑒𝒾𝑜𝓈 𝑒 𝑔𝑒𝑜𝑔𝓇𝒶𝒻𝒾𝒶𝓈.

𝟷.𝟷. 𝒪𝓈 𝒽𝑜𝓇𝒾𝓏𝑜𝓃𝓉𝑒𝓈 𝓉𝑒̂𝓂 𝓉𝑒𝓃𝒹𝑒̂𝓃𝒸𝒾𝒶 𝒶 𝑒𝓃𝒸𝑜𝓁𝒽𝑒𝓇 𝒸𝑜𝓂 𝒶 𝒾𝒹𝒶𝒹𝑒. 𝒰𝓂 𝓇𝑒𝓅𝑜́𝓇𝓉𝑒𝓇 𝒹𝑒𝓋𝑒 𝑒𝓈𝓉𝒶𝓇 𝓋𝒾𝑔𝒾𝓁𝒶𝓃𝓉𝑒 𝑒𝓂 𝓇𝑒𝓁𝒶𝒸̧𝒶̃𝑜 𝒶𝑜 𝓆𝓊𝑒 𝑒𝓂 𝓈𝒾 𝓈𝑒 𝑒𝓈𝓉𝓇𝑒𝒾𝓉𝒶 𝑒 𝒸𝓇𝒾𝓈𝓉𝒶𝓁𝒾𝓏𝒶. 𝒯𝓇𝒶𝓉𝒶𝓇 𝑜𝓈 𝒽𝑜𝓇𝒾𝓏𝑜𝓃𝓉𝑒𝓈 𝒸𝑜𝓂𝑜 𝓂𝓊́𝓈𝒸𝓊𝓁𝑜𝓈. 𝐸𝓍𝑒𝓇𝒸𝒾𝓉𝒶́-𝓁𝑜𝓈. 𝒮𝒶̃𝑜 𝓊𝓂𝒶 𝒻𝑒𝓇𝓇𝒶𝓂𝑒𝓃𝓉𝒶 𝒹𝑒 𝓉𝓇𝒶𝒷𝒶𝓁𝒽𝑜.

𝟸. 𝒜 𝓇𝑒𝓅𝑜𝓇𝓉𝒶𝑔𝑒𝓂 𝓉𝑒𝓁𝑒𝓋𝒾𝓈𝒾𝓋𝒶 𝒻𝒶𝓏-𝓈𝑒, 𝓅𝑒𝓁𝑜 𝓂𝑒𝓃𝑜𝓈, 𝒶 𝓈𝑒𝒾𝓈 𝓂𝒶̃𝑜𝓈 𝑒 𝓉𝓇𝑒̂𝓈 𝒸𝒶𝒷𝑒𝒸̧𝒶𝓈: 𝓇𝑒𝓅𝑜́𝓇𝓉𝑒𝓇, 𝓇𝑒𝓅𝑜́𝓇𝓉𝑒𝓇 𝒹𝑒 𝒾𝓂𝒶𝑔𝑒𝓂 𝑒 𝑒𝒹𝒾𝓉𝑜𝓇 𝒹𝑒 𝒾𝓂𝒶𝑔𝑒𝓂. 𝒩𝑜𝓈 𝓉𝓇𝒶𝒷𝒶𝓁𝒽𝑜𝓈 𝒹𝑒 𝓂𝒶𝒾𝑜𝓇 𝒻𝑜̂𝓁𝑒𝑔𝑜 𝒶 𝟹𝟶𝟶 𝑅𝑒𝒻𝓁𝑒𝓍𝑜̃𝑒𝓈 𝒹𝑒 𝟸𝟶 𝒶𝓃𝑜𝓈 𝒸𝑜𝓂𝑜 𝓇𝑒𝓅𝑜́𝓇𝓉𝑒𝓇 𝑒𝓂 𝒸𝑜𝓃𝓈𝓉𝓇𝓊𝒸̧𝒶̃𝑜 – 𝒯𝑒𝓈𝓉𝑒𝓂𝓊𝓃𝒽𝑜 𝑒𝓆𝓊𝒾𝓅𝒶 𝒸𝓇𝑒𝓈𝒸𝑒 𝒸𝑜𝓂 𝒶 𝓅𝓇𝑜𝒹𝓊𝒸̧𝒶̃𝑜 𝑒𝒹𝒾𝓉𝑜𝓇𝒾𝒶𝓁 𝑒 𝑜 𝑔𝓇𝒶𝒻𝒾𝓈𝓂𝑜. 𝒜𝒾𝓃𝒹𝒶 𝓆𝓊𝑒 𝒶𝓅𝑒𝓃𝒶𝓈 𝑜 𝓇𝑒𝓅𝑜́𝓇𝓉𝑒𝓇 𝑒𝓈𝓉𝑒𝒿𝒶 𝓅𝓇𝑒𝓈𝑒𝓃𝓉𝑒 𝑒𝓂 𝓉𝑜𝒹𝒶𝓈 𝒶𝓈 𝒻𝒶𝓈𝑒𝓈 𝒹𝑜 𝓅𝓇𝑜𝒸𝑒𝓈𝓈𝑜, 𝓂𝑜𝓁𝒹𝒶𝓃𝒹𝑜-𝑜 𝒹𝑜 𝒾𝓃𝒾́𝒸𝒾𝑜 𝒶𝑜 𝒻𝒾𝓂, 𝒸𝒶𝒹𝒶 𝓊𝓂𝒶 𝒹𝑒𝓈𝓉𝒶𝓈 𝓅𝑒𝓈𝓈𝑜𝒶𝓈 – 𝒸𝑜𝓂 𝒶 𝓈𝓊𝒶 𝒷𝒶𝑔𝒶𝑔𝑒𝓂, 𝒶 𝓈𝓊𝒶 𝒸𝓊𝓁𝓉𝓊𝓇𝒶, 𝒶𝓈 𝓈𝓊𝒶𝓈 𝓇𝑒𝒻𝑒𝓇𝑒̂𝓃𝒸𝒾𝒶𝓈 𝑒 𝒶𝓈 𝓈𝓊𝒶𝓈 𝑒𝓂𝑜𝒸̧𝑜̃𝑒𝓈 – 𝒸𝑜𝓃𝓉𝓇𝒾𝒷𝓊𝒾 𝒹𝑒𝒸𝒾𝓈𝒾𝓋𝒶𝓂𝑒𝓃𝓉𝑒 𝓅𝒶𝓇𝒶 𝑜 𝓇𝑒𝓈𝓊𝓁𝓉𝒶𝒹𝑜 𝒻𝒾𝓃𝒶𝓁. 𝒜 𝓇𝑒𝓅𝑜𝓇𝓉𝒶𝑔𝑒𝓂 𝑔𝒶𝓃𝒽𝒶 𝒸𝑜𝓂 𝑜 𝑒𝓃𝓋𝑜𝓁𝓋𝒾𝓂𝑒𝓃𝓉𝑜 𝒹𝑒 𝒸𝒶𝒹𝒶 𝓊𝓂𝒶 𝒹𝑒𝓁𝒶𝓈 𝒹𝑒𝓈𝒹𝑒 𝒶 𝒻𝒶𝓈𝑒 𝓂𝒶𝒾𝓈 𝒾𝓃𝒾𝒸𝒾𝒶𝓁 𝓅𝑜𝓈𝓈𝒾́𝓋𝑒𝓁.

𝟸.𝟷. 𝒰𝓂𝒶 𝒹𝑒𝒻𝒾𝓃𝒾𝒸̧𝒶̃𝑜 𝒹𝑒 𝓇𝑒𝓅𝑜𝓇𝓉𝒶𝑔𝑒𝓂, 𝓅𝑒𝓁𝑜 𝒿𝑜𝓇𝓃𝒶𝓁𝒾𝓈𝓉𝒶 𝒷𝓇𝒶𝓈𝒾𝓁𝑒𝒾𝓇𝑜 𝐿𝓊𝒾𝓏 𝒜𝓂𝒶𝓇𝒶𝓁: “𝑅𝑒𝓅𝑜𝓇𝓉𝒶𝑔𝑒𝓂 𝑒́ 𝒶 𝓇𝑒𝓅𝓇𝑒𝓈𝑒𝓃𝓉𝒶𝒸̧𝒶̃𝑜 𝒹𝑒 𝓊𝓂 𝒻𝒶𝒸𝓉𝑜 𝑜𝓊 𝒹𝑒 𝓊𝓂 𝒶𝒸𝑜𝓃𝓉𝑒𝒸𝒾𝓂𝑒𝓃𝓉𝑜 𝑒𝓃𝓇𝒾𝓆𝓊𝑒𝒸𝒾𝒹𝒶 𝓅𝑒𝓁𝒶 𝒸𝒶𝓅𝒶𝒸𝒾𝒹𝒶𝒹𝑒 𝒾𝓃𝓉𝑒𝓁𝑒𝒸𝓉𝓊𝒶𝓁, 𝑜𝒷𝓈𝑒𝓇𝓋𝒶𝒸̧𝒶̃𝑜 𝒶𝓉𝑒𝓃𝓉𝒶, 𝓈𝑒𝓃𝓈𝒾𝒷𝒾𝓁𝒾𝒹𝒶𝒹𝑒, 𝒸𝓇𝒾𝒶𝓉𝒾𝓋𝒾𝒹𝒶𝒹𝑒 𝑒 𝓃𝒶𝓇𝓇𝒶𝒸̧𝒶̃𝑜 𝒻𝓁𝓊𝑒𝓃𝓉𝑒 𝒹𝑜 𝒶𝓊𝓉𝑜𝓇”. (...) “𝒜 𝓇𝑒𝓅𝑜𝓇𝓉𝒶𝑔𝑒𝓂 𝓉𝒶𝓂𝒷𝑒́𝓂 𝑒́ 𝓊𝓂𝒶 𝒶𝓇𝓉𝑒 𝓅𝑜𝓇𝓆𝓊𝑒 𝓃𝑒𝓁𝒶 𝑒𝓃𝓉𝓇𝒶 𝓉𝑜𝒹𝒶 𝒶 𝒷𝒶𝑔𝒶𝑔𝑒𝓂 𝓈𝓊𝒷𝒿𝑒𝓉𝒾𝓋𝒶 𝒹𝑒 𝓆𝓊𝑒𝓂 𝒶 𝒻𝒶𝓏”.

𝟹. 𝒜 𝓅𝓇𝑒𝓈𝑒𝓃𝒸̧𝒶 𝒹𝑒 𝓊𝓂𝒶 𝒸𝒶̂𝓂𝒶𝓇𝒶 𝒶𝓁𝓉𝑒𝓇𝒶 𝑜 𝒶𝓂𝒷𝒾𝑒𝓃𝓉𝑒, 𝓅𝑜𝓇 𝓋𝑒𝓏𝑒𝓈 𝓅𝓇𝑜𝒻𝓊𝓃𝒹𝒶𝓂𝑒𝓃𝓉𝑒. 𝒩𝑒𝓂 𝓈𝑒𝓂𝓅𝓇𝑒 𝑒́ 𝓅𝑜𝓈𝓈𝒾́𝓋𝑒𝓁, 𝓂𝒶𝓈 𝑒́ 𝒾𝓂𝓅𝑜𝓇𝓉𝒶𝓃𝓉𝑒 𝒸𝑜𝓃𝒽𝑒𝒸𝑒𝓇 𝓅𝓇𝑒𝓋𝒾𝒶𝓂𝑒𝓃𝓉𝑒 “𝑜 𝓉𝑒𝓇𝓇𝑒𝓃𝑜”, 𝓈𝑒𝓂 𝒸𝒶̂𝓂𝒶𝓇𝒶. 𝒫𝒶𝓇𝒶 𝒸𝑜𝓃𝒽𝑒𝒸𝑒𝓇, 𝒹𝑒 𝒻𝑜𝓇𝓂𝒶 𝓂𝑒𝓃𝑜𝓈 𝒶𝓁𝓉𝑒𝓇𝒶𝒹𝒶, 𝑜 𝒶𝓂𝒷𝒾𝑒𝓃𝓉𝑒 𝑒 𝒶𝓈 𝓅𝑒𝓈𝓈𝑜𝒶𝓈 𝓆𝓊𝑒 𝓋𝒶𝓂𝑜𝓈 𝓇𝑒𝓉𝓇𝒶𝓉𝒶𝓇, 𝓂𝒶𝓈 𝓉𝒶𝓂𝒷𝑒́𝓂 𝓅𝒶𝓇𝒶 𝓆𝓊𝑒𝒷𝓇𝒶𝓇 𝑒𝓋𝑒𝓃𝓉𝓊𝒶𝒾𝓈 𝒷𝒶𝓇𝓇𝑒𝒾𝓇𝒶𝓈 𝒹𝑒 𝒹𝑒𝓈𝒸𝑜𝓃𝒻𝒾𝒶𝓃𝒸̧𝒶, 𝒾𝑔𝓃𝑜𝓇𝒶̂𝓃𝒸𝒾𝒶 𝑒 𝓅𝓇𝑒𝒸𝑜𝓃𝒸𝑒𝒾𝓉𝑜𝓈 𝓂𝓊́𝓉𝓊𝑜𝓈. 𝑀𝓊𝒾𝓉𝒶𝓈 𝒹𝒶𝓈 𝓇𝑒𝓅𝑜𝓇𝓉𝒶𝑔𝑒𝓃𝓈 𝓆𝓊𝑒 𝒻𝒾𝓏 𝓃𝒶̃𝑜 𝓉𝑒𝓇𝒾𝒶𝓂 𝑒𝓍𝒾𝓈𝓉𝒾𝒹𝑜 𝓈𝑒𝓂 𝑒𝓈𝓈𝑒 𝓅𝓇𝒾𝓂𝑒𝒾𝓇𝑜 𝓅𝒶𝓈𝓈𝑜.

𝟹.𝟷. 𝒫𝑜𝒹𝑒 𝓈𝑒𝓇 𝓊́𝓉𝒾𝓁 𝓊𝓂 𝑒𝓍𝑒𝓂𝓅𝓁𝑜: 𝒸𝑜𝓂 𝑜 𝓇𝑒𝓅𝑜́𝓇𝓉𝑒𝓇 𝒹𝑒 𝒾𝓂𝒶𝑔𝑒𝓂 𝐹𝒾𝓁𝒾𝓅𝑒 𝐹𝑒𝓇𝓇𝑒𝒾𝓇𝒶 𝑒 𝒸𝑜𝓂 𝑜 𝑒𝒹𝒾𝓉𝑜𝓇 𝒹𝑒 𝒾𝓂𝒶𝑔𝑒𝓂 𝑅𝒾𝒸𝒶𝓇𝒹𝑜 𝒯𝑒𝓃𝓇𝑒𝒾𝓇𝑜 𝒻𝒾𝓏, 𝑒𝓂 𝟸𝟶𝟶𝟽, 𝓊𝓂𝒶 𝒢𝓇𝒶𝓃𝒹𝑒 𝑅𝑒𝓅𝑜𝓇𝓉𝒶𝑔𝑒𝓂 𝓈𝑜𝒷𝓇𝑒 𝓊𝓂 𝒷𝒶𝓁𝓃𝑒𝒶́𝓇𝒾𝑜 𝓅𝓊́𝒷𝓁𝒾𝒸𝑜 𝒹𝑒 𝐿𝒾𝓈𝒷𝑜𝒶, 𝑒𝓂 𝒜𝓁𝒸𝒶̂𝓃𝓉𝒶𝓇𝒶: 𝒪 𝐵𝒶𝓁𝓃𝑒𝒶́𝓇𝒾𝑜. 𝒜𝓅𝑒𝓈𝒶𝓇 𝒹𝑒 𝓂𝑜𝓇𝒶𝓇, 𝓃𝒶 𝒶𝓁𝓉𝓊𝓇𝒶, 𝓂𝓊𝒾𝓉𝑜 𝓅𝑒𝓇𝓉𝑜, 𝑒 𝒶𝓅𝑒𝓈𝒶𝓇 𝒹𝑒 𝐿𝒾𝓈𝒷𝑜𝒶 𝓉𝑒𝓇 𝑒𝓃𝓉𝒶̃𝑜 𝓂𝒶𝒾𝓈 𝒹𝑒 𝟸𝟶 𝒾𝓃𝓈𝓉𝒶𝓁𝒶𝒸̧𝑜̃𝑒𝓈 𝓈𝑒𝓂𝑒𝓁𝒽𝒶𝓃𝓉𝑒𝓈, 𝓃𝑒𝓂 𝑒𝓊 𝓃𝑒𝓂 𝓃𝑒𝓃𝒽𝓊𝓂 𝒹𝑜𝓈 𝑒𝓁𝑒𝓂𝑒𝓃𝓉𝑜𝓈 𝒹𝒶 𝑒𝓆𝓊𝒾𝓅𝒶 𝓉𝒾𝓃𝒽𝒶 𝒶𝓁𝑔𝓊𝓂𝒶 𝓋𝑒𝓏 𝑒𝓃𝓉𝓇𝒶𝒹𝑜 𝓃𝓊𝓂 𝒷𝒶𝓁𝓃𝑒𝒶́𝓇𝒾𝑜 𝓅𝓊́𝒷𝓁𝒾𝒸𝑜. 𝐸𝓃𝓉𝓇𝑒 𝑜𝓈 𝓆𝓊𝑒 𝓃𝒶̃𝑜 𝓉𝑒̂𝓂 𝒸𝒶𝓈𝒶 𝒹𝑒 𝒷𝒶𝓃𝒽𝑜, 𝑜𝓈 𝓆𝓊𝑒 𝓋𝒾𝓋𝑒𝓂 𝓃𝒶 𝓇𝓊𝒶, 𝑒 𝑜𝓈 𝓆𝓊𝑒 𝑒𝓃𝓋𝑒𝓁𝒽𝑒𝒸𝑒𝓇𝒶𝓂 𝓈𝑜𝓏𝒾𝓃𝒽𝑜𝓈, 𝒶𝓁𝒾 𝓈𝑒 𝒸𝑜𝓃𝓈𝓉𝓇𝑜́𝒾 𝓊𝓂𝒶 𝒸𝑒𝓇𝓉𝒶 𝓇𝑒𝒹𝑒 𝒻𝒶𝓂𝒾𝓁𝒾𝒶𝓇, 𝒸𝑜𝓂 𝒶𝓈 𝓇𝑒𝓈𝓅𝑒𝒸𝓉𝒾𝓋𝒶𝓈 𝒶𝓋𝑒𝓃𝒸̧𝒶𝓈 𝑒 𝒹𝑒𝓈𝒶𝓋𝑒𝓃𝒸̧𝒶𝓈, 𝓆𝓊𝑒 𝓃𝑜𝓈 𝑒𝓇𝒶 𝒹𝑒𝓈𝒸𝑜𝓃𝒽𝑒𝒸𝒾𝒹𝒶. 𝒩𝒶̃𝑜 𝓉𝑒𝓃𝒽𝑜 𝒹𝓊́𝓋𝒾𝒹𝒶𝓈 𝒹𝑒 𝓆𝓊𝑒 𝒶𝓈 𝓉𝑒𝒾𝒶𝓈 𝓂𝒶𝒾𝓈 𝓈𝓊𝒷𝓉𝒾𝓈 𝒹𝑒𝓈𝓈𝒶 𝓇𝑒𝒹𝑒 𝓃𝑜𝓈 𝓉𝑒𝓇𝒾𝒶𝓂 𝓅𝑒𝓇𝓂𝒶𝓃𝑒𝒸𝒾𝒹𝑜 𝒾𝓃𝓋𝒾𝓈𝒾́𝓋𝑒𝒾𝓈 𝓈𝑒 𝓃𝒶̃𝑜 𝓉𝒾𝓋𝑒𝓈𝓈𝑒 𝓁𝒶́ 𝒾𝒹𝑜 𝓊𝓂𝒶 𝓋𝑒𝓏 𝓅𝓇𝒾𝓂𝑒𝒾𝓇𝑜, 𝓈𝑜𝓏𝒾𝓃𝒽𝒶, 𝓈𝑒𝓃𝓉𝒶𝓇-𝓂𝑒 𝒶 𝑜𝒷𝓈𝑒𝓇𝓋𝒶𝓇. 𝐸 𝓊𝓂𝒶 𝓈𝑒𝑔𝓊𝓃𝒹𝒶 𝓋𝑒𝓏, 𝒸𝑜𝓂 𝑜 𝐹𝒾𝓁𝒾𝓅𝑒 𝐹𝑒𝓇𝓇𝑒𝒾𝓇𝒶, 𝒶𝒾𝓃𝒹𝒶 𝓈𝑒𝓂 𝓂𝒶𝓉𝑒𝓇𝒾𝒶𝓁 𝒹𝑒 𝒻𝒾𝓁𝓂𝒶𝑔𝑒𝓃𝓈.

𝒞𝑜𝓃𝓋𝑒𝓇𝓈𝒶́𝓂𝑜𝓈 𝒸𝑜𝓂 𝑜𝓈 𝓋𝒾𝑔𝒾𝓁𝒶𝓃𝓉𝑒𝓈 𝒹𝑜 𝒷𝒶𝓁𝓃𝑒𝒶́𝓇𝒾𝑜 𝑒 𝒸𝑜𝓂 𝑜𝓈 𝓆𝓊𝑒 𝓃𝑒𝓈𝓈𝑒 𝒹𝒾𝒶 𝒻𝓇𝑒𝓆𝓊𝑒𝓃𝓉𝒶𝓇𝒶𝓂 𝑜𝓈 𝒹𝓊𝒸𝒽𝑒𝓈 𝓅𝓊́𝒷𝓁𝒾𝒸𝑜𝓈. 𝒪𝓈 𝓆𝓊𝑒 𝓉𝑒𝓇𝒾𝒶𝓂 𝒻𝓊𝑔𝒾𝒹𝑜 𝒹𝑒 𝓃𝑜́𝓈 𝓈𝑒, 𝒶𝑜 𝑒𝓃𝓉𝓇𝒶𝓇 𝒹𝑒𝓈𝓅𝓇𝑒𝓋𝑒𝓃𝒾𝒹𝑜𝓈, 𝑒𝓃𝒸𝑜𝓃𝓉𝓇𝒶𝓈𝓈𝑒𝓂 𝒹𝑜𝒾𝓈 𝑒𝓈𝓉𝓇𝒶𝓃𝒽𝑜𝓈 𝒸𝑜𝓂 𝓊𝓂𝒶 𝒸𝒶̂𝓂𝒶𝓇𝒶. 𝒢𝓊𝒾𝓁𝒽𝑒𝓇𝓂𝒾𝓃𝒶 𝑅𝑜𝒹𝓇𝒾𝑔𝓊𝑒𝓈, 𝓁𝒾𝓈𝒷𝑜𝑒𝓉𝒶 𝒹𝑒 𝒜𝓁𝒸𝒶̂𝓃𝓉𝒶𝓇𝒶, 𝓆𝓊𝑒 𝓈𝑒𝓂𝓅𝓇𝑒 𝓉𝑒𝓋𝑒 𝒸𝒶𝓈𝒶 “𝓂𝒶𝓈 𝓃𝓊𝓃𝒸𝒶 𝒸𝑜𝓂 𝒸𝒶𝓈𝒶 𝒹𝑒 𝒷𝒶𝓃𝒽𝑜”, 𝑒𝓂𝒷𝑜𝓇𝒶 𝓉𝑒𝓃𝒽𝒶 𝓉𝓇𝒶𝒷𝒶𝓁𝒽𝒶𝒹𝑜 𝒶 𝓋𝒾𝒹𝒶 𝒾𝓃𝓉𝑒𝒾𝓇𝒶 “𝓃𝒶 𝓋𝑒𝓃𝒹𝒶”. 𝒬𝓊𝑒 𝒶𝓁𝒾 𝓉𝑜𝓂𝑜𝓊 𝒷𝒶𝓃𝒽𝑜 𝓅𝑒𝓁𝒶 𝓅𝓇𝒾𝓂𝑒𝒾𝓇𝒶 𝓋𝑒𝓏 𝒶𝑜𝓈 𝑜𝒾𝓉𝑜 𝒶𝓃𝑜𝓈, 𝓁𝑒𝓋𝒶𝒹𝒶 𝓅𝑒𝓁𝒶 𝓂𝒶̃𝑒. 𝑀𝒶𝒾𝓈 𝓉𝒶𝓇𝒹𝑒 𝓁𝑒𝓋𝑜𝓊 𝑜𝓈 𝒻𝒾𝓁𝒽𝑜𝓈 𝑒 𝒹𝑒𝓅𝑜𝒾𝓈 𝑜𝓈 𝓃𝑒𝓉𝑜𝓈. 𝒜𝓃𝒾́𝒷𝒶𝓁 𝒥𝑜𝓇𝑔𝑒, 𝓆𝓊𝑒 𝓋𝒾𝓋𝒾𝒶 𝓃𝒶 𝓇𝓊𝒶. 𝒜𝓃𝒹𝒶𝓇𝒶 𝑒𝓂𝒷𝒶𝓇𝒸𝒶𝒹𝑜 𝟸𝟻 𝒶𝓃𝑜𝓈 𝑒 𝒽𝒶́ 𝓂𝒶𝒾𝓈 𝒹𝑒 𝒹𝑒𝓏 𝓆𝓊𝑒 𝑒𝓇𝒶 “𝓊𝓂 𝒷𝒶𝓇𝒸𝑜 𝒶̀ 𝒹𝑒𝓇𝒾𝓋𝒶”. 𝒜𝓂𝑒́𝓁𝒾𝒶 𝒪𝓁𝒾𝓋𝑒𝒾𝓇𝒶, 𝓆𝓊𝑒 𝒶𝓆𝓊𝑒𝒸𝒾𝒶 𝑜 𝒸𝑜𝓇𝓅𝑜 𝑒𝓃𝓋𝑒𝓁𝒽𝑒𝒸𝒾𝒹𝑜 𝑒 𝓅𝑜𝓊𝒸𝑜 𝓂𝒾𝓂𝒶𝒹𝑜 𝓈𝑜𝒷 𝑜𝓈 𝒸𝒽𝓊𝓋𝑒𝒾𝓇𝑜𝓈 𝓅𝓊́𝒷𝓁𝒾𝒸𝑜𝓈 𝒹𝒶 𝒸𝒶𝓅𝒾𝓉𝒶𝓁. 𝒜𝑜𝓈 𝟾𝟻 𝒶𝓃𝑜𝓈 𝓉𝒾𝓋𝑒𝓇𝒶, 𝓅𝑒𝓁𝒶 𝓅𝓇𝒾𝓂𝑒𝒾𝓇𝒶 𝓋𝑒𝓏, 𝓊𝓂𝒶 𝒸𝒶𝓈𝒶 𝒹𝑒 𝒷𝒶𝓃𝒽𝑜. 𝑀𝒶𝓈 𝒶 𝒷𝒶𝓃𝒽𝑒𝒾𝓇𝒶 𝒹𝒶 𝒸𝒶𝓈𝒶 𝒶𝓉𝓇𝒾𝒷𝓊𝒾́𝒹𝒶 𝓅𝑒𝓁𝒶 𝒞𝒶̂𝓂𝒶𝓇𝒶 𝑒𝓇𝒶, 𝑒𝓃𝓉𝒶̃𝑜, 𝓊𝓂 𝓁𝓊𝓍𝑜 𝒹𝑒 𝓆𝓊𝑒 𝒶 𝓋𝒾𝓊́𝓋𝒶 𝒜𝓂𝑒́𝓁𝒾𝒶 𝒿𝒶́ 𝓃𝒶̃𝑜 𝒸𝑜𝓃𝓈𝑒𝑔𝓊𝒾𝒶 𝒹𝑒𝓈𝒻𝓇𝓊𝓉𝒶𝓇 𝓈𝑒𝓂 𝒶𝒿𝓊𝒹𝒶. 𝒫𝒶𝓈𝓈𝒶𝓋𝒶 𝓉𝑜𝒹𝒶𝓈 𝒶𝓈 𝓂𝒶𝓃𝒽𝒶̃𝓈 𝓃𝑜 𝒷𝒶𝓁𝓃𝑒𝒶́𝓇𝒾𝑜 “𝓅𝒶𝓇𝒶 𝒹𝒾𝓈𝓉𝓇𝒶𝒾𝓇”. 𝒜̀𝓈 𝓈𝑒𝓍𝓉𝒶𝓈 𝓉𝒾𝓃𝒽𝒶 𝒶 𝒶𝒿𝓊𝒹𝒶 𝒹𝑒 𝑅𝑜𝓈𝒶, 𝒶 𝓋𝒾𝑔𝒾𝓁𝒶𝓃𝓉𝑒, 𝓅𝒶𝓇𝒶 𝓉𝑜𝓂𝒶𝓇 𝒷𝒶𝓃𝒽𝑜.

𝟹.𝟸. 𝒜 𝓅𝓇𝑒𝓈𝑒𝓃𝒸̧𝒶 𝒹𝒶 𝒸𝒶̂𝓂𝒶𝓇𝒶 𝑒́ 𝒾𝓃𝓉𝒾𝓂𝒾𝒹𝒶𝓃𝓉𝑒 𝓅𝒶𝓇𝒶 𝒶 𝓂𝒶𝒾𝑜𝓇𝒾𝒶 𝒹𝒶𝓈 𝓅𝑒𝓈𝓈𝑜𝒶𝓈. 𝒞𝒶𝒹𝒶 𝓇𝑒𝓅𝑜́𝓇𝓉𝑒𝓇 𝒹𝑒𝓈𝑒𝓃𝓋𝑜𝓁𝓋𝑒 𝒶𝓈 𝓈𝓊𝒶𝓈 𝑒𝓈𝓉𝓇𝒶𝓉𝑒́𝑔𝒾𝒶𝓈 𝓅𝒶𝓇𝒶 𝒶𝒿𝓊𝒹𝒶𝓇 𝑜𝓈 𝑒𝓃𝓉𝓇𝑒𝓋𝒾𝓈𝓉𝒶𝒹𝑜𝓈 𝒶 𝓆𝓊𝑒𝒷𝓇𝒶𝓇 𝑜 𝑔𝑒𝓁𝑜 𝒸𝑜𝓂 𝒶 𝒸𝒶̂𝓂𝒶𝓇𝒶. 𝑀𝓊𝒾𝓉𝒶𝓈 𝓋𝑒𝓏𝑒𝓈 𝓋𝒶𝓁𝑒 𝒶 𝓅𝑒𝓃𝒶 𝓇𝑒𝑔𝓇𝑒𝓈𝓈𝒶𝓇 𝒶 𝓉𝑒𝓂𝒶𝓈 𝒶𝓃𝓉𝑒𝓇𝒾𝑜𝓇𝑒𝓈 𝑒𝓂 𝓂𝑜𝓂𝑒𝓃𝓉𝑜𝓈 𝓂𝒶𝒾𝓈 𝒶𝓋𝒶𝓃𝒸̧𝒶𝒹𝑜𝓈 𝒹𝒶 𝒸𝑜𝓃𝓋𝑒𝓇𝓈𝒶. 𝒬𝓊𝒶𝓃𝒹𝑜 𝓉𝑒𝓇𝓂𝒾𝓃𝑜 𝓊𝓂𝒶 𝑒𝓃𝓉𝓇𝑒𝓋𝒾𝓈𝓉𝒶, 𝓅𝑒𝓇𝑔𝓊𝓃𝓉𝑜 𝓈𝑒𝓂𝓅𝓇𝑒 𝒶𝑜𝓈 𝑒𝓃𝓉𝓇𝑒𝓋𝒾𝓈𝓉𝒶𝒹𝑜𝓈 𝓈𝑒 𝒽𝒶́ 𝒶𝓁𝑔𝓊𝓂𝒶 𝒸𝑜𝒾𝓈𝒶 𝓆𝓊𝑒 𝓂𝑒 𝒻𝒶𝓁𝓉𝑜𝓊 𝓅𝑒𝓇𝑔𝓊𝓃𝓉𝒶𝓇. 𝒪𝓊 𝒹𝑒 𝓆𝓊𝑒 𝓃𝒶̃𝑜 𝓉𝑒𝓃𝒽𝒶𝓂𝑜𝓈 𝒻𝒶𝓁𝒶𝒹𝑜 𝑜 𝓈𝓊𝒻𝒾𝒸𝒾𝑒𝓃𝓉𝑒. 𝐻𝒶𝒷𝒾𝓉𝓊𝒶𝓁𝓂𝑒𝓃𝓉𝑒 𝒶𝓈 𝓅𝑒𝓈𝓈𝑜𝒶𝓈 𝓇𝑒𝓈𝓅𝒾𝓇𝒶𝓂 𝒻𝓊𝓃𝒹𝑜. 𝒜̀𝓈 𝓋𝑒𝓏𝑒𝓈 𝒸𝑜𝓂𝑒𝒸̧𝒶 𝒶𝒾́ 𝒶 𝓂𝑒𝓁𝒽𝑜𝓇 𝓅𝒶𝓇𝓉𝑒 𝒹𝒶 𝑒𝓃𝓉𝓇𝑒𝓋𝒾𝓈𝓉𝒶.

𝟺. 𝒩𝑒𝓂 𝓈𝑒𝓂𝓅𝓇𝑒 𝑜 𝓆𝓊𝑒 𝑒𝓈𝒸𝓇𝑒𝓋𝑒𝓂𝑜𝓈 𝑒́ 𝑜 𝓆𝓊𝑒 𝓆𝓊𝑒𝓇𝑒𝓂𝑜𝓈 𝑒𝓈𝒸𝓇𝑒𝓋𝑒𝓇 𝑜𝓊 𝑜 𝓆𝓊𝑒 𝒶𝒸𝒽𝒶𝓂𝑜𝓈 𝓆𝓊𝑒 𝑒𝓈𝒸𝓇𝑒𝓋𝑒𝓂𝑜𝓈. 𝒜 𝒸𝑜𝓂𝓊𝓃𝒾𝒸𝒶𝒸̧𝒶̃𝑜 𝑒́ 𝓊𝓂 𝒶𝓈𝓈𝓊𝓃𝓉𝑜 𝒸𝑜𝓂𝓅𝓁𝑒𝓍𝑜. 𝑅𝑒𝓆𝓊𝑒𝓇 𝑒𝓂𝒾𝓈𝓈𝑜𝓇 𝑒 𝓇𝑒𝒸𝑒𝓅𝓉𝑜𝓇. 𝒪 𝓇𝑒𝓅𝑜́𝓇𝓉𝑒𝓇 (𝑒𝓂𝒾𝓈𝓈𝑜𝓇) 𝓃𝒶̃𝑜 𝑒𝓈𝓉𝒶́ 𝑒𝓂 𝒸𝑜𝓃𝓉𝒶𝒸𝓉𝑜 𝒸𝑜𝓂 𝑜𝓈 𝓂𝓊𝒾𝓉𝑜𝓈 𝓇𝑒𝒸𝑒𝓅𝓉𝑜𝓇𝑒𝓈 𝒹𝑜 𝓈𝑒𝓊 𝓉𝓇𝒶𝒷𝒶𝓁𝒽𝑜. 𝐸́ 𝒻𝓊𝓃𝒹𝒶𝓂𝑒𝓃𝓉𝒶𝓁 𝒹𝒶𝓇 𝒶 𝓁𝑒𝓇 𝑜 𝓆𝓊𝑒 𝑒𝓈𝒸𝓇𝑒𝓋𝑒𝓂𝑜𝓈 𝒶𝓃𝓉𝑒𝓈 𝒹𝑒 𝓈𝑒𝑔𝓊𝒾𝓇 𝓅𝒶𝓇𝒶 𝒶 𝓈𝒶𝓁𝒶 𝒹𝑒 𝓂𝑜𝓃𝓉𝒶𝑔𝑒𝓂. 𝐸́ 𝒻𝓊𝓃𝒹𝒶𝓂𝑒𝓃𝓉𝒶𝓁 𝓂𝑜𝓈𝓉𝓇𝒶𝓇 𝒶 𝓇𝑒𝓅𝑜𝓇𝓉𝒶𝑔𝑒𝓂, 𝒿𝒶́ 𝓂𝑜𝓃𝓉𝒶𝒹𝒶, 𝒶𝓃𝓉𝑒𝓈 𝒹𝑒 𝓈𝑒𝓇 𝑒𝓂𝒾𝓉𝒾𝒹𝒶. 𝒩𝒶̃𝑜 𝒶𝓅𝑒𝓃𝒶𝓈 𝓅𝒶𝓇𝒶 𝒹𝑒𝓉𝑒𝒸𝓉𝒶𝓇 𝑒 𝑒𝓋𝒾𝓉𝒶𝓇 𝑒𝓇𝓇𝑜𝓈, 𝓂𝒶𝓈 𝓅𝒶𝓇𝒶 𝓇𝑒𝒻𝓁𝑒𝒸𝓉𝒾𝓇 𝑒𝓂 𝒸𝑜𝓃𝒿𝓊𝓃𝓉𝑜 𝑒 𝑔𝒶𝓇𝒶𝓃𝓉𝒾𝓇 𝓆𝓊𝑒 𝒶 𝒸𝑜𝓂𝓊𝓃𝒾𝒸𝒶𝒸̧𝒶̃𝑜 𝑒́ 𝑒𝒻𝒾𝒸𝒶𝓏. 𝐸́ 𝒻𝓇𝑒𝓆𝓊𝑒𝓃𝓉𝑒 𝓅𝑒𝓇𝒸𝑒𝒷𝑒𝓇, 𝓃𝑒𝓈𝓈𝒶𝓈 𝓁𝑒𝒾𝓉𝓊𝓇𝒶𝓈 𝑜𝓊 𝓋𝒾𝓈𝒾𝑜𝓃𝒶𝓂𝑒𝓃𝓉𝑜𝓈 𝒸𝑜𝓂 𝑜𝓊𝓉𝓇𝑜 𝒿𝑜𝓇𝓃𝒶𝓁𝒾𝓈𝓉𝒶 𝒶 𝓆𝓊𝑒𝓂 𝓅𝑒𝒸̧𝑜 𝑜𝓅𝒾𝓃𝒾𝒶̃𝑜, 𝓊𝓂𝒶 𝒾𝓂𝓅𝓁𝒾𝒸𝒶𝒸̧𝒶̃𝑜 𝓆𝓊𝑒 𝓂𝑒 𝑒𝓈𝒸𝒶𝓅𝒶𝓇𝒶 𝓃𝓊𝓂𝒶 𝒻𝓇𝒶𝓈𝑒 𝓆𝓊𝑒 𝑒𝓈𝒸𝓇𝑒𝓋𝒾 𝑜𝓊 𝓃𝓊𝓂 𝑒𝓍𝒸𝑒𝓇𝓉𝑜 𝓆𝓊𝑒 𝓈𝑒𝓁𝑒𝒸𝒸𝒾𝑜𝓃𝑒𝒾 𝒹𝑒 𝓊𝓂𝒶 𝑒𝓃𝓉𝓇𝑒𝓋𝒾𝓈𝓉𝒶. 𝒞𝑜𝒾𝓈𝒶𝓈 𝓆𝓊𝑒 𝓃𝒶̃𝑜 𝒹𝑒𝓉𝑒𝓉𝒶𝓇𝒾𝒶 𝓈𝑒𝓂 𝑒𝓈𝓈𝒶 𝓇𝑒𝒻𝓁𝑒𝓍𝒶̃𝑜 𝒸𝑜𝓃𝒿𝓊𝓃𝓉𝒶 𝑒 𝓆𝓊𝑒 𝓂𝑒 𝓁𝑒𝓋𝒶𝓂, 𝒻𝓇𝑒𝓆𝓊𝑒𝓃𝓉𝑒𝓂𝑒𝓃𝓉𝑒, 𝒶 𝒻𝒶𝓏𝑒𝓇 𝑔𝓇𝒶𝓃𝒹𝑒𝓈 𝓂𝑒𝓁𝒽𝑜𝓇𝒾𝒶𝓈 𝓃𝒶𝓈 𝓇𝑒𝓅𝑜𝓇𝓉𝒶𝑔𝑒𝓃𝓈.

𝟺.𝟷. 𝐸𝓈𝓈𝒶𝓈 𝓇𝑒𝒻𝓁𝑒𝓍𝑜̃𝑒𝓈 𝒸𝑜𝓃𝒿𝓊𝓃𝓉𝒶𝓈 𝓈𝒶̃𝑜 𝓉𝒶𝓂𝒷𝑒́𝓂 𝓊𝓂𝒶 𝓅𝑜𝒹𝑒𝓇𝑜𝓈𝒶 𝒷𝒶𝓇𝓇𝑒𝒾𝓇𝒶 𝒶𝑜𝓈 𝒹𝒶𝓃𝑜𝓈 𝒸𝑜𝓁𝒶𝓉𝑒𝓇𝒶𝒾𝓈. 𝒮𝑒 𝒽𝒶́ 𝒸𝑜𝒾𝓈𝒶 𝓆𝓊𝑒 𝓂𝑒 𝓉𝒾𝓇𝒶 𝑜 𝓈𝑜𝓃𝑜, 𝓈𝑜𝒷𝓇𝑒𝓉𝓊𝒹𝑜 𝓆𝓊𝒶𝓃𝒹𝑜 𝓉𝑒𝓃𝒽𝑜 𝑒𝓂 𝓂𝒶̃𝑜𝓈 𝓉𝑒𝓂𝒶𝓈 𝓂𝒶𝒾𝓈 𝒸𝑜𝓂𝓅𝓁𝑒𝓍𝑜𝓈 𝑒 𝒹𝑒𝓁𝒾𝒸𝒶𝒹𝑜𝓈, 𝑒́ 𝒶 𝓅𝑜𝓈𝓈𝒾𝒷𝒾𝓁𝒾𝒹𝒶𝒹𝑒 𝒹𝑒 𝓅𝓇𝑒𝒿𝓊𝒹𝒾𝒸𝒶𝓇 𝒶𝓁𝑔𝓊𝑒́𝓂 𝓆𝓊𝑒 𝑒𝓍𝓅𝑜̂𝓈 𝒶 𝓈𝓊𝒶 𝓋𝒾𝒹𝒶, 𝒶 𝓈𝓊𝒶 𝒻𝒶𝓂𝒾́𝓁𝒾𝒶, 𝒶 𝓈𝓊𝒶 𝒾𝓃𝓉𝒾𝓂𝒾𝒹𝒶𝒹𝑒 𝒸𝑜𝓂 𝑜 𝓅𝓇𝑜𝓅𝑜́𝓈𝒾𝓉𝑜 𝒹𝑒 𝒸𝑜𝓃𝓉𝓇𝒾𝒷𝓊𝒾𝓇 𝓅𝒶𝓇𝒶 𝑜 𝒷𝑒𝓂 𝒸𝑜𝓂𝓊𝓂, 𝒶𝒿𝓊𝒹𝒶𝓃𝒹𝑜 𝒸𝑜𝓂 𝑜 𝓈𝑒𝓊 𝒸𝒶𝓈𝑜 𝓅𝑒𝓈𝓈𝑜𝒶𝓁 𝒶 𝒻𝒶𝓏𝑒𝓇 𝓁𝓊𝓏 𝓈𝑜𝒷𝓇𝑒 𝓊𝓂 𝒶𝓈𝓈𝓊𝓃𝓉𝑜, 𝒶 𝒶𝓅𝓇𝑜𝒻𝓊𝓃𝒹𝒶𝓇 𝑜 𝒸𝑜𝓃𝒽𝑒𝒸𝒾𝓂𝑒𝓃𝓉𝑜 𝑜𝓊 𝒶 𝓇𝑒𝒻𝓁𝑒𝓍𝒶̃𝑜 𝒹𝒶 𝓈𝑜𝒸𝒾𝑒𝒹𝒶𝒹𝑒.

𝟺.𝟸. 𝐻𝒶́ 𝓊𝓂𝒶 𝑔𝓇𝒶𝓃𝒹𝑒 𝑒𝓍𝓅𝑜𝓈𝒾𝒸̧𝒶̃𝑜 𝓃𝒶 𝓇𝑒𝓅𝑜𝓇𝓉𝒶𝑔𝑒𝓂 𝓉𝑒𝓁𝑒𝓋𝒾𝓈𝒾𝓋𝒶 𝑒 𝒽𝒶́ 𝓊𝓂𝒶 𝓉𝓇𝑒𝓂𝑒𝓃𝒹𝒶 𝒸𝑜𝓃𝒻𝒾𝒶𝓃𝒸̧𝒶 𝒹𝑒𝓅𝑜𝓈𝒾𝓉𝒶𝒹𝒶 𝑒𝓂 𝓃𝑜́𝓈 𝓅𝑒𝓁𝑜𝓈 𝓆𝓊𝑒 𝒶𝒷𝓇𝑒𝓂 𝒶𝓈 𝓅𝑜𝓇𝓉𝒶𝓈 𝒶 𝓊𝓂𝒶 𝑒𝓆𝓊𝒾𝓅𝒶 𝒹𝑒 𝓇𝑒𝓅𝑜𝓇𝓉𝒶𝑔𝑒𝓂, 𝓂𝓊𝒾𝓉𝒶𝓈 𝓋𝑒𝓏𝑒𝓈 𝑒𝓂 𝓈𝒾𝓉𝓊𝒶𝒸̧𝑜̃𝑒𝓈 𝒹𝑒 𝑒𝓃𝑜𝓇𝓂𝑒 𝓋𝓊𝓁𝓃𝑒𝓇𝒶𝒷𝒾𝓁𝒾𝒹𝒶𝒹𝑒. 𝒫𝑜𝓇 𝓋𝑒𝓏𝑒𝓈, 𝒶𝓉𝑒́, 𝓈𝑒𝓂 𝓉𝑒𝓇 𝓊𝓂𝒶 𝒸𝑜𝓂𝓅𝓁𝑒𝓉𝒶 𝓃𝑜𝒸̧𝒶̃𝑜 𝒹𝒶 𝑒𝓍𝓅𝑜𝓈𝒾𝒸̧𝒶̃𝑜 𝒶 𝓆𝓊𝑒 𝓈𝑒 𝓈𝓊𝒿𝑒𝒾𝓉𝒶𝓂 𝑒 𝒹𝑜𝓈 𝒾𝓂𝓅𝒶𝒸𝓉𝑜𝓈 𝓆𝓊𝑒 𝓅𝑜𝒹𝑒 𝓉𝑒𝓇 𝓃𝒶 𝓈𝓊𝒶 𝓋𝒾𝒹𝒶 𝒶 𝒸𝓊𝓇𝓉𝑜 𝑒 𝓁𝑜𝓃𝑔𝑜 𝓅𝓇𝒶𝓏𝑜. 𝒯𝑒𝓂𝑜𝓈 𝒶 𝑜𝒷𝓇𝒾𝑔𝒶𝒸̧𝒶̃𝑜 𝒹𝑒 𝒽𝑜𝓃𝓇𝒶𝓇 𝑒𝓈𝓈𝒶 𝒸𝑜𝓃𝒻𝒾𝒶𝓃𝒸̧𝒶 𝑜 𝓂𝑒𝓁𝒽𝑜𝓇 𝓆𝓊𝑒 𝓈𝒶𝒾𝒷𝒶𝓂𝑜𝓈.

𝟻. 𝐸𝓂 𝟸𝟶𝟷𝟽 𝑜𝓊𝓋𝒾, 𝓅𝑒𝓁𝒶 𝓅𝓇𝒾𝓂𝑒𝒾𝓇𝒶 𝓋𝑒𝓏, 𝓃𝓊𝓂𝒶 𝒸𝑜𝓃𝒻𝑒𝓇𝑒̂𝓃𝒸𝒾𝒶, 𝑜 𝒿𝑜𝓇𝓃𝒶𝓁𝒾𝓈𝓉𝒶 𝒹𝒾𝓃𝒶𝓂𝒶𝓇𝓆𝓊𝑒̂𝓈 𝒰𝓁𝓇𝒾𝒸𝓀 𝐻𝒶𝒶𝑔𝑒𝓇𝓊𝓅, 𝒻𝓊𝓃𝒹𝒶𝒹𝑜𝓇 𝒹𝑜 𝒞𝑜𝓃𝓈𝓉𝓇𝓊𝒸𝓉𝒾𝓋𝑒 𝐼𝓃𝓈𝓉𝒾𝓉𝓊𝓉 (𝒸𝑜𝓃𝓈𝓉𝓇𝓊𝒸𝓉𝒾𝓋𝑒𝒾𝓃𝓈𝓉𝒾𝓉𝓊𝓉𝑒.𝑜𝓇𝑔). 𝑅𝑒𝓋𝑒𝒿𝑜-𝓂𝑒 𝓃𝑜 𝒸𝑜𝓃𝒸𝑒𝒾𝓉𝑜 𝒹𝑒 𝒥𝑜𝓇𝓃𝒶𝓁𝒾𝓈𝓂𝑜 𝒞𝑜𝓃𝓈𝓉𝓇𝓊𝓉𝒾𝓋𝑜. 𝒪𝓇𝒾𝑒𝓃𝓉𝒶𝒹𝑜 𝓅𝒶𝓇𝒶 𝒶 𝓅𝓇𝑜𝒸𝓊𝓇𝒶 𝒹𝑒 𝑒𝓍𝓅𝓁𝒾𝒸𝒶𝒸̧𝑜̃𝑒𝓈, 𝒹𝑒 𝒸𝑜𝓃𝓉𝑒𝓍𝓉𝑜𝓈, 𝒹𝑒 𝓇𝑒𝓈𝓅𝑜𝓃𝓈𝒶́𝓋𝑒𝒾𝓈, 𝓂𝒶𝓈 𝓉𝒶𝓂𝒷𝑒́𝓂 𝒹𝑒 𝒸𝒶𝓂𝒾𝓃𝒽𝑜𝓈 𝓅𝒶𝓇𝒶 𝓈𝑜𝓁𝓊𝒸̧𝑜̃𝑒𝓈. 𝒬𝓊𝑒 𝓃𝒶̃𝑜 𝓈𝑒 𝒻𝒾𝒸𝒶 𝓅𝑒𝓁𝒶 𝒹𝑒𝓃𝓊́𝓃𝒸𝒾𝒶 𝑜𝓊 𝓅𝑒𝓁𝒶 𝑒𝓍𝓅𝑜𝓈𝒾𝒸̧𝒶̃𝑜 𝒹𝑜 𝓅𝓇𝑜𝒷𝓁𝑒𝓂𝒶. 𝒩𝑜𝓈 𝒶𝓃𝓉𝒾́𝓅𝑜𝒹𝒶𝓈 𝒹𝑜 𝓈𝑒𝓃𝓈𝒶𝒸𝒾𝑜𝓃𝒶𝓁𝒾𝓈𝓂𝑜 𝑒 𝒹𝑜 𝓋𝑜𝓊𝓎𝑒𝓊𝓇𝒾𝓈𝓂𝑜 𝓆𝓊𝑒 𝒸𝒶𝓃𝒾𝒷𝒶𝓁𝒾𝓏𝒶𝓂 𝒶𝓁𝑔𝓊𝓂 𝓉𝓇𝒶𝒷𝒶𝓁𝒽𝑜 𝒿𝑜𝓇𝓃𝒶𝓁𝒾́𝓈𝓉𝒾𝒸𝑜. 𝒞𝑜𝓂𝑜 𝒸𝑜𝓃𝓉𝓇𝒶𝓅𝑒𝓈𝑜 𝓅𝒶𝓇𝒶 𝓊𝓂 𝒿𝑜𝓇𝓃𝒶𝓁𝒾𝓈𝓂𝑜 𝒶𝓅𝓇𝑒𝓈𝓈𝒶𝒹𝑜, 𝓅𝑜𝓇 𝓋𝑒𝓏𝑒𝓈 𝒾𝓇𝓇𝑒𝒻𝓁𝑒𝒸𝓉𝒾𝒹𝑜, 𝓅𝑒𝓇𝒾𝑔𝑜𝓈𝑜 𝓅𝒶𝓇𝒶 𝒶 𝓈𝑜𝒸𝒾𝑒𝒹𝒶𝒹𝑒 𝑒 𝓅𝒶𝓇𝒶 𝒶 𝒹𝑒𝓂𝑜𝒸𝓇𝒶𝒸𝒾𝒶.

𝟼. 𝒜 𝒻𝑜𝓇𝓂𝒶 𝒸𝑜𝓂𝑜 𝓈𝑒 𝓅𝓇𝑜𝒹𝓊𝓏 𝑒 𝒸𝑜𝓂𝑜 𝓈𝑒 𝒸𝑜𝓃𝓈𝑜𝓂𝑒 𝒾𝓃𝒻𝑜𝓇𝓂𝒶𝒸̧𝒶̃𝑜 𝒶𝓁𝓉𝑒𝓇𝑜𝓊-𝓈𝑒 𝓇𝒶𝒹𝒾𝒸𝒶𝓁𝓂𝑒𝓃𝓉𝑒. 𝒜 𝑒𝒻𝒾𝒸𝒶́𝒸𝒾𝒶 𝒶𝓁𝑔𝑜𝓇𝒾́𝓉𝓂𝒾𝒸𝒶 𝒹𝒶𝓈 𝓇𝑒𝒹𝑒𝓈 𝓈𝑜𝒸𝒾𝒶𝒾𝓈 𝒶𝓂𝑒𝒶𝒸̧𝒶 𝑜 𝓂𝑜𝒹𝑒𝓁𝑜 𝒹𝑒 𝓃𝑒𝑔𝑜́𝒸𝒾𝑜 𝒹𝒶 𝒸𝑜𝓂𝓊𝓃𝒾𝒸𝒶𝒸̧𝒶̃𝑜 𝓈𝑜𝒸𝒾𝒶𝓁, 𝓂𝒶𝓈 𝑒𝓈𝓈𝑒 𝑒́ 𝒶𝓅𝑒𝓃𝒶𝓈 𝑜 𝓂𝒶𝒾𝓈 𝑒𝓋𝒾𝒹𝑒𝓃𝓉𝑒 𝒹𝑜𝓈 𝒹𝑒𝓈𝒶𝒻𝒾𝑜𝓈 𝓆𝓊𝑒 𝓇𝑒𝓅𝓇𝑒𝓈𝑒𝓃𝓉𝒶 𝓅𝒶𝓇𝒶 𝑜 𝒥𝑜𝓇𝓃𝒶𝓁𝒾𝓈𝓂𝑜 𝒸𝑜𝓂𝑜 𝓅𝒾𝓁𝒶𝓇 𝒹𝑒 𝓊𝓂𝒶 𝓈𝑜𝒸𝒾𝑒𝒹𝒶𝒹𝑒 𝑀𝒾𝓇𝒾𝒶𝓂 𝒜𝓁𝓋𝑒𝓈 𝟹𝟶𝟹 𝒾𝓃𝒻𝑜𝓇𝓂𝒶𝒹𝒶, 𝒿𝓊𝓈𝓉𝒶 𝑒 𝒹𝑒𝓂𝑜𝒸𝓇𝒶́𝓉𝒾𝒸𝒶. 𝒩𝒶 𝒹𝒾𝓈𝓅𝓊𝓉𝒶 𝓅𝑒𝓁𝒶 𝒶𝓉𝑒𝓃𝒸̧𝒶̃𝑜 𝓂𝒶𝒾𝓈 𝒹𝒾𝓈𝓅𝑒𝓇𝓈𝒶 𝒹𝑜𝓈 𝒸𝒾𝒹𝒶𝒹𝒶̃𝑜𝓈 𝑒 𝒹𝑜𝓈 𝒶𝓃𝓊𝓃𝒸𝒾𝒶𝓃𝓉𝑒𝓈, 𝒶 𝓇𝑒𝓈𝓅𝑜𝓈𝓉𝒶 𝓉𝑒𝓂 𝓈𝒾𝒹𝑜 𝓅𝓇𝑜𝒹𝓊𝓏𝒾𝓇 𝓂𝒶𝒾𝓈 𝒸𝑜𝓃𝓉𝑒𝓊́𝒹𝑜𝓈 𝒸𝑜𝓂 𝓂𝑒𝓃𝑜𝓈 𝓇𝑒𝒸𝓊𝓇𝓈𝑜𝓈, 𝑒𝓂 𝓇𝑒𝒹𝒶𝒸̧𝑜̃𝑒𝓈 𝓂𝒶𝒾𝓈 𝓇𝑒𝒹𝓊𝓏𝒾𝒹𝒶𝓈. 𝒜𝓅𝑒𝓈𝒶𝓇 𝒹𝑜𝓈 𝑒𝓍𝓉𝓇𝒶𝑜𝓇𝒹𝒾𝓃𝒶́𝓇𝒾𝑜𝓈 𝓉𝓇𝒶𝒷𝒶𝓁𝒽𝑜𝓈 𝓆𝓊𝑒 𝒶𝓁𝑔𝓊𝓂𝒶𝓈 𝓇𝑒𝒹𝒶𝒸̧𝑜̃𝑒𝓈 𝒸𝑜𝓃𝓉𝒾𝓃𝓊𝒶𝓂 𝒶 𝓅𝓇𝑜𝒹𝓊𝓏𝒾𝓇, 𝑒́ 𝒹𝒾𝒻𝒾́𝒸𝒾𝓁 𝒸𝑜𝓃𝓉𝓇𝒶𝓇𝒾𝒶𝓇 𝓊𝓂 𝓃𝒾𝓋𝑒𝓁𝒶𝓂𝑒𝓃𝓉𝑜 𝓅𝑜𝓇 𝒷𝒶𝒾𝓍𝑜. 𝑅𝑒𝓆𝓊𝑒𝓇 𝑒𝓂𝓅𝑒𝓃𝒽𝑜, 𝒸𝓇𝒾𝒶𝓉𝒾𝓋𝒾𝒹𝒶𝒹𝑒 𝑒 𝓋𝑜𝒸𝒶𝒸̧𝒶̃𝑜.

𝟼.𝟷. 𝐸́ 𝒾𝓂𝓅𝑜𝓇𝓉𝒶𝓃𝓉𝑒 𝓇𝑒𝒻𝓁𝑒𝒸𝓉𝒾𝓇 𝓇𝑒𝑔𝓊𝓁𝒶𝓇𝓂𝑒𝓃𝓉𝑒 𝓈𝑜𝒷𝓇𝑒 𝑜 𝓆𝓊𝑒 𝓃𝑜𝓈 𝓉𝓇𝑜𝓊𝓍𝑒 𝒶𝑜 𝒿𝑜𝓇𝓃𝒶𝓁𝒾𝓈𝓂𝑜, 𝓈𝑜𝒷𝓇𝑒 𝑜 𝓆𝓊𝑒 𝓃𝑜𝓈 𝓂𝒶𝓃𝓉𝑒́𝓂 𝓃𝓊𝓂𝒶 𝓇𝑒𝒹𝒶𝒸̧𝒶̃𝑜, 𝓈𝑜𝒷𝓇𝑒 𝑜 𝓆𝓊𝑒 𝓃𝑜𝓈 𝓂𝑜𝓋𝑒.

𝟼.𝟸. 𝒬𝓊𝒶𝓃𝒹𝑜 𝓃𝑜𝓈 𝒶𝓉𝒾𝓇𝒶𝓂𝑜𝓈 𝓅𝒶𝓇𝒶 𝓂𝒶𝒾𝓈 𝓊𝓂 𝓉𝓇𝒶𝒷𝒶𝓁𝒽𝑜 𝒹𝑒 𝑔𝓇𝒶𝓃𝒹𝑒 𝒻𝑜̂𝓁𝑒𝑔𝑜, 𝓈𝒶𝒷𝑒𝓂𝑜𝓈 𝓆𝓊𝑒 𝓉𝑒𝓂𝑜𝓈 𝓅𝑒𝓁𝒶 𝒻𝓇𝑒𝓃𝓉𝑒 𝓂𝓊𝒾𝓉𝒶𝓈 𝓃𝑜𝒾𝓉𝑒𝓈 𝓈𝑒𝓂 𝒹𝑜𝓇𝓂𝒾𝓇, 𝓂𝓊𝒾𝓉𝒶𝓈 𝒽𝑜𝓇𝒶𝓈 𝒶 𝓂𝑒𝓃𝑜𝓈 𝒸𝑜𝓂 𝑜𝓈 𝒻𝒾𝓁𝒽𝑜𝓈, 𝒶𝓈 𝒻𝒶𝓂𝒾́𝓁𝒾𝒶𝓈, 𝑜𝓈 𝒶𝓂𝒾𝑔𝑜𝓈. 𝑀𝓊𝒾𝓉𝒶𝓈 𝒶𝓃𝑔𝓊́𝓈𝓉𝒾𝒶𝓈. 𝒮𝒶𝒷𝑒𝓂𝑜𝓈 𝓉𝒶𝓂𝒷𝑒́𝓂 𝓆𝓊𝑒 𝑒́ 𝓊𝓂 𝓅𝓇𝒾𝓋𝒾𝓁𝑒́𝑔𝒾𝑜, 𝓃𝑜 𝓈𝑒𝓃𝓉𝒾𝒹𝑜 𝑒𝓂 𝓆𝓊𝑒 𝓂𝓊𝒾𝓉𝑜𝓈 𝒿𝑜𝓇𝓃𝒶𝓁𝒾𝓈𝓉𝒶𝓈 𝑒𝓈𝓉𝒶̃𝑜 𝓅𝓇𝒾𝓋𝒶𝒹𝑜𝓈 𝒹𝑒 𝑜 𝒻𝒶𝓏𝑒𝓇, 𝑒𝓂 𝓇𝑒𝒹𝒶𝒸𝒸̧𝑜̃𝑒𝓈 𝑒𝓈𝓉𝓇𝒶𝓃𝑔𝓊𝓁𝒶𝒹𝒶𝓈 𝓅𝑜𝓇 𝒹𝒾𝒻𝒾𝒸𝓊𝓁𝒹𝒶𝒹𝑒𝓈 𝒻𝒾𝓃𝒶𝓃𝒸𝑒𝒾𝓇𝒶𝓈 𝑒/𝑜𝓊 𝒹𝒾𝒻𝑒𝓇𝑒𝓃𝓉𝑒𝓈 𝒸𝓇𝒾𝓉𝑒́𝓇𝒾𝑜𝓈 𝑒𝒹𝒾𝓉𝑜𝓇𝒾𝒶𝒾𝓈. 𝐸́ 𝒾𝓂𝓅𝑒𝓇𝒾𝑜𝓈𝑜 𝑒𝓃𝒸𝑜𝓃𝓉𝓇𝒶𝓇𝓂𝑜𝓈 𝒻𝑜𝓇𝓂𝒶𝓈 𝒹𝑒 𝒾𝓃𝓋𝑒𝓈𝓉𝒾𝓇 𝑒𝓂 𝓉𝓇𝒶𝒷𝒶𝓁𝒽𝑜𝓈 𝒹𝑒 𝓅𝓇𝑜𝒻𝓊𝓃𝒹𝒾𝒹𝒶𝒹𝑒, 𝓆𝓊𝑒 𝓇𝑒𝓆𝓊𝑒𝓇𝑒𝓂 𝓉𝑒𝓂𝓅𝑜 𝑒 𝑒𝓈𝓅𝒶𝒸̧𝑜 𝓃𝒶 𝒶𝓃𝓉𝑒𝓃𝒶. 𝒩𝒶̃𝑜 𝒶𝓅𝑒𝓃𝒶𝓈 𝓅𝒶𝓇𝒶 𝒸𝓊𝓂𝓅𝓇𝒾𝓇 𝑜 𝓅𝒶𝓅𝑒𝓁 𝒹𝑜 𝒥𝑜𝓇𝓃𝒶𝓁𝒾𝓈𝓂𝑜, 𝓂𝒶𝓈 𝓉𝒶𝓂𝒷𝑒́𝓂 𝓅𝒶𝓇𝒶 𝓉𝑜𝓇𝓃𝒶𝓇 𝓂𝒶𝒾𝓈 𝑒𝓋𝒾𝒹𝑒𝓃𝓉𝑒 𝑒𝓈𝓈𝑒 𝓅𝒶𝓅𝑒𝓁 𝓃𝓊𝓂𝒶 𝑒́𝓅𝑜𝒸𝒶 𝒹𝑒 𝒾𝓂𝑒𝒹𝒾𝒶𝓉𝒾𝓈𝓂𝑜 𝑒 𝒹𝑒 𝑜𝓅𝒾𝓃𝒾𝒶̃𝑜 𝓇𝒶́𝓅𝒾𝒹𝒶 𝑒𝓂 𝓆𝓊𝑒 𝒶𝓈 𝒻𝓇𝑜𝓃𝓉𝑒𝒾𝓇𝒶𝓈 𝑒𝓃𝓉𝓇𝑒 𝒾𝓃𝒻𝑜𝓇𝓂𝒶𝒸̧𝒶̃𝑜 𝑒 𝒹𝒾𝓈𝓈𝑒𝓂𝒾𝓃𝒶𝒸̧𝒶̃𝑜 𝒹𝑒 𝒶𝒻𝒾𝓇𝓂𝒶𝒸̧𝑜̃𝑒𝓈 𝑒𝓈𝓉𝒶̃𝑜 𝒹𝑒𝓂𝒶𝓈𝒾𝒶𝒹𝑜 𝑒𝓈𝒷𝒶𝓉𝒾𝒹𝒶𝓈.

𝟽. 𝒯𝓇𝒶𝓃𝓈𝒻𝑜𝓇𝓂𝒶𝓇 𝑜 𝒾𝓂𝓅𝑜𝓇𝓉𝒶𝓃𝓉𝑒 𝑒𝓂 𝒾𝓃𝓉𝑒𝓇𝑒𝓈𝓈𝒶𝓃𝓉𝑒 𝑒́ 𝓊𝓂 𝒹𝑒𝓈𝒶𝒻𝒾𝑜 𝒸𝓇𝑒𝓈𝒸𝑒𝓃𝓉𝑒 𝑒 𝒹𝑒 𝒸𝓇𝑒𝓈𝒸𝑒𝓃𝓉𝑒 𝒾𝓂𝓅𝑜𝓇𝓉𝒶̂𝓃𝒸𝒾𝒶.

𝟾. 𝒪 𝒿𝑜𝓇𝓃𝒶𝓁𝒾𝓈𝓂𝑜 𝑒́ 𝓈𝑒𝓂𝓅𝓇𝑒 𝒸𝑜𝓃𝓉𝓇𝒶 𝒶 𝒾𝓃𝒹𝒾𝒻𝑒𝓇𝑒𝓃𝒸̧𝒶, 𝓉𝒶𝓂𝒷𝑒́𝓂 𝑒𝓂 𝓇𝑒𝓁𝒶𝒸̧𝒶̃𝑜 𝒶𝑜 𝓆𝓊𝑒 𝓂𝑒𝓇𝑒𝒸𝑒 𝒹𝑒𝓈𝓉𝒶𝓆𝓊𝑒 𝑒 𝒶𝓅𝓁𝒶𝓊𝓈𝑜. 𝒟𝑒𝓋𝑒 𝒹𝒾𝓋𝓊𝓁𝑔𝒶𝓇 𝒷𝑜𝒶𝓈 𝓅𝓇𝒶́𝓉𝒾𝒸𝒶𝓈, 𝒾𝒹𝑒𝒾𝒶𝓈 𝒾𝓃𝓈𝓅𝒾𝓇𝒶𝒹𝑜𝓇𝒶𝓈, 𝓇𝑒𝓅𝓁𝒾𝒸𝒶́𝓋𝑒𝒾𝓈. 𝒪 𝓂𝓊𝓃𝒹𝑜 𝓃𝒶𝓈 𝓃𝑜𝓉𝒾́𝒸𝒾𝒶𝓈 𝑒́ 𝓂𝒶𝒾𝓈 𝓅𝑒𝓆𝓊𝑒𝓃𝑜, 𝓂𝒶𝒾𝓈 𝓃𝑒𝑔𝓇𝑜 𝑒 𝓂𝒶𝒾𝓈 𝓅𝑒𝓇𝒾𝑔𝑜𝓈𝑜 𝒹𝑜 𝓆𝓊𝑒 𝑜 𝓂𝓊𝓃𝒹𝑜 𝓇𝑒𝒶𝓁. 𝒯𝑜𝒹𝑜𝓈 𝑔𝒶𝓃𝒽𝒶𝓂𝑜𝓈 𝒸𝑜𝓂 𝓊𝓂𝒶 𝓋𝒾𝓈𝒶̃𝑜 𝓂𝒶𝒾𝓈 𝒸𝑜𝓂𝓅𝓁𝑒𝓉𝒶, 𝒹𝒾𝓋𝑒𝓇𝓈𝒶 𝑒 𝑒𝓆𝓊𝒾𝓁𝒾𝒷𝓇𝒶𝒹𝒶 𝒹𝑜 𝓂𝓊𝓃𝒹𝑜.

𝟾.𝟷. 𝐼𝓃𝓉𝑒𝓇𝑒𝓈𝓈𝒶-𝓂𝑒 𝓉𝒶𝓂𝒷𝑒́𝓂, 𝒸𝒶𝒹𝒶 𝓋𝑒𝓏 𝓂𝒶𝒾𝓈, 𝑜 𝒹𝑒𝓈𝒶𝒻𝒾𝑜 𝒿𝑜𝓇𝓃𝒶𝓁𝒾́𝓈𝓉𝒾𝒸𝑜 𝑒 𝒹𝑒𝓂𝑜𝒸𝓇𝒶́𝓉𝒾𝒸𝑜 𝒹𝑒 𝓉𝑜𝓇𝓃𝒶𝓇 𝒶𝒸𝑒𝓈𝓈𝒾́𝓋𝑒𝓁 𝒶 𝓉𝑜𝒹𝑜𝓈 𝑜 𝒸𝑜𝓃𝒽𝑒𝒸𝒾𝓂𝑒𝓃𝓉𝑜 𝑔𝑒𝓇𝒶𝒹𝑜 𝓃𝒶𝓈 𝓋𝒶́𝓇𝒾𝒶𝓈 𝒶́𝓇𝑒𝒶𝓈 𝒹𝒶 𝒸𝒾𝑒̂𝓃𝒸𝒾𝒶.

𝟿. 𝒪 𝒥𝑜𝓇𝓃𝒶𝓁𝒾𝓈𝓂𝑜 𝑒́ “𝓊𝓂 𝒻𝒾𝓁𝓉𝓇𝑜 𝑒𝓃𝓉𝓇𝑒 𝒶 𝓇𝑒𝒶𝓁𝒾𝒹𝒶𝒹𝑒 𝑒 𝒶 𝓅𝑒𝓇𝒸𝑒𝓅𝒸̧𝒶̃𝑜 𝒹𝒶 𝓇𝑒𝒶𝓁𝒾𝒹𝒶𝒹𝑒”. 𝒰𝓁𝓇𝒾𝒸𝓀 𝐻𝒶𝒶𝑔𝑒𝓇𝓊𝓅, 𝒿𝑜𝓇𝓃𝒶𝓁𝒾𝓈𝓉𝒶 𝑒 𝒻𝓊𝓃𝒹𝒶𝒹𝑜𝓇 𝒹𝑜 𝒞𝑜𝓃𝓈𝓉𝓇𝓊𝒸𝓉𝒾𝓋𝑒 𝐼𝓃𝓈𝓉𝒾𝓉𝓊𝓉.

𝟷𝟶. “𝒟𝑒𝓂𝑜𝒸𝓇𝒶𝒸𝓎 𝒹𝒾𝑒𝓈 𝒾𝓃 𝒹𝒶𝓇𝓀𝓃𝑒𝓈𝓈”. 𝐸́ 𝑜 𝓈𝓁𝑜𝑔𝒶𝓃 𝒹𝑜 𝒿𝑜𝓇𝓃𝒶𝓁 𝒲𝒶𝓈𝒽𝒾𝑔𝓃𝓉𝑜𝓃 𝒫𝑜𝓈𝓉. 𝒫𝑒𝓃𝓈𝑜 𝓃𝑒𝓈𝓉𝒶 𝒻𝓇𝒶𝓈𝑒 𝓂𝓊𝒾𝓉𝒶𝓈 𝓋𝑒𝓏𝑒𝓈, 𝒸𝑜𝓂𝑜 𝓊𝓂 𝒻𝒶𝓇𝑜𝓁.

* Jornalista de Grande Reportagem da SIC

Este testemunho foi originalmente publicado no Manual de Reportagem REC, organizado por Pedro Coelho, Ana Isabel Reis e Luís Bonixe, e editado pelos Livros Labcom em 2021.

IN "SETENTA E QUATRO" - 08/09/22 .