.
Liberdade de expressão
cultural e patrulha
inquisitorial
"A censura está para a arte como o linchamento para a justiça"
Henry Louis Gates Jr.
𝖠𝗌𝗌𝗂𝗌𝗍𝗂𝗆𝗈𝗌 𝖺 𝗎𝗆 𝗇𝗎́𝗆𝖾𝗋𝗈 𝖼𝗋𝖾𝗌𝖼𝖾𝗇𝗍𝖾 𝖽𝖾 𝖺𝗍𝖺𝗊𝗎𝖾𝗌 𝖺 𝗈𝖻𝗋𝖺𝗌 𝗅𝗂𝗍𝖾𝗋𝖺́𝗋𝗂𝖺𝗌 𝖾 𝖺𝗋𝗍𝗂́𝗌𝗍𝗂𝖼𝖺𝗌 𝖾𝗆 𝗇𝗈𝗆𝖾 𝖽𝗈 𝗆𝗈𝗏𝗂𝗆𝖾𝗇𝗍𝗈 "𝗐𝗈𝗄𝖾", 𝖼𝗎𝗃𝖺 𝖿𝗂𝗅𝗈𝗌𝗈𝖿𝗂𝖺 𝖺𝗌𝗌𝖾𝗇𝗍𝖺 𝖾𝗆 𝗀𝗋𝖺𝗇𝖽𝖾 𝗆𝖾𝖽𝗂𝖽𝖺 𝗇𝖺 𝖼𝗁𝖾𝗀𝖺𝖽𝖺 𝖺 𝗎𝗆𝖺 𝖾𝗌𝗉𝖾́𝖼𝗂𝖾 𝖽𝖾 𝖺𝗆𝗇𝖾́𝗌𝗂𝖺 𝖼𝗈𝗅𝖾𝖼𝗍𝗂𝗏𝖺, 𝗋𝖾𝗊𝗎𝖾𝗋𝖾𝗇𝖽𝗈, 𝗉𝗈𝗂𝗌, 𝗈 𝖾𝗆𝗉𝖾𝗇𝗁𝗈 𝖼𝗈𝗇𝗍𝗂́𝗇𝗎𝗈 𝖽𝖾𝗌𝗌𝖾 𝗆𝗈𝗏𝗂𝗆𝖾𝗇𝗍𝗈 𝗇𝖺 𝖽𝖾𝗌𝗅𝖾𝗀𝗂𝗍𝗂𝗆𝖺𝖼̧𝖺̃𝗈 𝖽𝖺 𝖧𝗂𝗌𝗍𝗈́𝗋𝗂𝖺 (𝗌𝗎𝖻𝗌𝗎𝗆𝗂𝖽𝖺 𝗊𝗎𝖾 𝖾́ 𝖺 𝗎𝗆𝖺 𝗌𝖾𝗊𝗎𝖾̂𝗇𝖼𝗂𝖺 𝖽𝖾 𝖾𝗏𝖾𝗇𝗍𝗈𝗌 𝖽𝖾 𝖼𝗋𝗎𝖾𝗅𝖽𝖺𝖽𝖾 𝖼𝗁𝗈𝖼𝖺𝗇𝗍𝖾) 𝖾 𝗇𝖺 𝗌𝗎𝗉𝗋𝖾𝗌𝗌𝖺̃𝗈 𝖽𝖾 𝗈𝖻𝗋𝖺𝗌 𝗅𝗂𝗍𝖾𝗋𝖺́𝗋𝗂𝖺𝗌 𝖾 𝖺𝗋𝗍𝗂́𝗌𝗍𝗂𝖼𝖺𝗌 (𝗏𝗂𝗌𝗍𝖺𝗌 𝖼𝗈𝗆𝗈 𝗂𝗇𝗌𝗍𝗋𝗎𝗆𝖾𝗇𝗍𝗈𝗌 𝖽𝖾 𝗈𝗉𝗋𝖾𝗌𝗌𝖺̃𝗈 𝖽𝖾 𝗀𝗋𝗎𝗉𝗈𝗌 𝗆𝖺𝗋𝗀𝗂𝗇𝖺𝗅𝗂𝗓𝖺𝖽𝗈𝗌).
𝖭𝖾𝗌𝗌𝖺 𝗌𝖾𝗊𝗎𝖾̂𝗇𝖼𝗂𝖺, 𝗈 𝗆𝗈𝗏𝗂𝗆𝖾𝗇𝗍𝗈 𝗍𝖾𝗆 𝖾𝗑𝗂𝗀𝗂𝖽𝗈, 𝖾𝗇𝗍𝗋𝖾 𝗈𝗎𝗍𝗋𝖺𝗌 𝖼𝗈𝗂𝗌𝖺𝗌, (𝗂) 𝗈 𝖻𝖺𝗇𝗂𝗆𝖾𝗇𝗍𝗈 𝗈𝗎 𝖺 𝖼𝗈𝗋𝗋𝖾𝖼𝖼̧𝖺̃𝗈 𝖾 𝖼𝗈𝗇𝗏𝖾𝗋𝗌𝖺̃𝗈 𝖾𝗆 𝗍𝖾𝗑𝗍𝗈𝗌 𝗉𝗈𝗅𝗂𝗍𝗂𝖼𝖺𝗆𝖾𝗇𝗍𝖾 𝖼𝗈𝗋𝗋𝖾𝖼𝗍𝗈𝗌 𝖽𝖾 𝗈𝖻𝗋𝖺𝗌 𝗊𝗎𝖾 𝖼𝗈𝗇𝗌𝗂𝖽𝖾𝗋𝖺 𝗌𝗇𝗈𝖻𝗌, 𝗆𝗂𝗌𝗈́𝗀𝗂𝗇𝖺𝗌 𝖾/𝗈𝗎 𝗋𝖺𝖼𝗂𝗌𝗍𝖺𝗌 (𝖼𝗈𝗆𝗈 𝖺𝗌 𝗈𝖻𝗋𝖺𝗌 𝖽𝖾 𝖤𝗇𝗂𝖽 𝖡𝗅𝗒𝗍𝗈𝗇 𝖼𝗈𝗇𝖿𝗈𝗋𝗆𝖾 𝗃𝖺́ 𝖺𝗊𝗎𝗂 𝗋𝖾𝖿𝖾𝗋𝗂), (𝗂𝗂) 𝖺 𝖽𝖾𝗌𝗍𝗋𝗎𝗂𝖼̧𝖺̃𝗈 𝗈𝗎 𝗏𝖺𝗇𝖽𝖺𝗅𝗂𝗓𝖺𝖼̧𝖺̃𝗈 𝖽𝖾 𝗆𝗈𝗇𝗎𝗆𝖾𝗇𝗍𝗈𝗌 (𝖼𝗈𝗆𝗈 𝗈 𝖯𝖺𝖽𝗋𝖺̃𝗈 𝖽𝗈𝗌 𝖣𝖾𝗌𝖼𝗈𝖻𝗋𝗂𝗆𝖾𝗇𝗍𝗈𝗌) 𝗊𝗎𝖾 𝖾𝗇𝖼𝖺𝗋𝖺 𝗇𝖺̃𝗈 𝖼𝗈𝗆𝗈 𝗋𝖾𝖼𝗈𝗋𝖽𝖺𝖼̧𝗈̃𝖾𝗌 𝗈𝗎 𝗅𝖾𝗆𝖻𝗋𝖺𝗇𝖼̧𝖺𝗌 𝖽𝖾 𝖿𝖺𝖼𝗍𝗈𝗌 𝗈𝗎 𝖾𝗇𝗍𝗂𝖽𝖺𝖽𝖾𝗌 𝖽𝗈𝗎𝗍𝗋𝖺𝗌 𝖾́𝗉𝗈𝖼𝖺𝗌, 𝗆𝖺𝗌 𝖼𝗈𝗆𝗈 𝗌𝗂́𝗆𝖻𝗈𝗅𝗈 𝖽𝖾 𝗎𝗆 𝗉𝖺𝗌𝗌𝖺𝖽𝗈 𝖼𝗈𝗅𝗈𝗇𝗂𝖺𝗅 𝖾 (𝗂𝗂𝗂) 𝗆𝖺𝗂𝗌 𝗋𝖾𝖼𝖾𝗇𝗍𝖾𝗆𝖾𝗇𝗍𝖾 𝖺 𝗍𝖾𝗇𝗍𝖺𝗍𝗂𝗏𝖺 𝖽𝖾 𝗋𝖾𝗆𝗈𝖼̧𝖺̃𝗈 𝖽𝖾 𝗎𝗆𝖺 𝗈𝖻𝗋𝖺 𝖺𝗋𝗍𝗂́𝗌𝗍𝗂𝖼𝖺 𝖽𝗈 𝗇𝗈𝗍𝖺́𝗏𝖾𝗅 𝖥𝗋𝖺𝗇𝖼𝗂𝗌𝖼𝗈 𝖲𝗂𝗆𝗈̃𝖾𝗌 𝗇𝖺 𝗊𝗎𝖺𝗅 𝗈 𝖺𝗎𝗍𝗈𝗋 𝖽𝖾 𝖠𝗆𝗈𝗋 𝖽𝖾 𝖯𝖾𝗋𝖽𝗂𝖼̧𝖺̃𝗈 𝖺𝖻𝗋𝖺𝖼̧𝖺 𝗎𝗆𝖺 𝗆𝗎𝗅𝗁𝖾𝗋 𝗇𝗎𝖺 (𝖠𝗇𝖺 𝖢𝖺𝗆𝗂𝗅𝗈), 𝖺𝗅𝖾𝗀𝖺𝗇𝖽𝗈 𝗊𝗎𝖾 𝖺 𝖾𝗌𝖼𝗎𝗅𝗍𝗎𝗋𝖺 𝗈𝖻𝗃𝖾𝖼𝗍𝗂𝖿𝗂𝖼𝖺 𝖺 𝗆𝗎𝗅𝗁𝖾𝗋 𝖾 𝗈𝖿𝖾𝗇𝖽𝖾 𝖺 𝗌𝗎𝖺 𝖽𝗂𝗀𝗇𝗂𝖽𝖺𝖽𝖾.
𝖤𝗌𝗍𝖾𝗌 𝗂𝗇𝖼𝗂𝖽𝖾𝗇𝗍𝖾𝗌 𝗈𝖻𝗋𝗂𝗀𝖺𝗆-𝗇𝗈𝗌 𝖺 𝗋𝖾𝖿𝗅𝖾𝖼𝗍𝗂𝗋 𝗌𝗈𝖻𝗋𝖾 𝖺𝗌 𝖿𝗋𝗈𝗇𝗍𝖾𝗂𝗋𝖺𝗌 𝖾 𝗅𝗂𝗆𝗂𝗍𝖾𝗌 𝖾𝗇𝗍𝗋𝖾 𝖺 𝖾𝗑𝗉𝗋𝖾𝗌𝗌𝖺̃𝗈 𝖼𝗎𝗅𝗍𝗎𝗋𝖺𝗅, 𝗊𝗎𝖾 𝖾𝗆𝖺𝗇𝖺 𝖽𝖺 𝗅𝗂𝖻𝖾𝗋𝖽𝖺𝖽𝖾 𝖽𝖾 𝖾𝗑𝗉𝗋𝖾𝗌𝗌𝖺̃𝗈, 𝖾 𝗈𝗎𝗍𝗋𝗈𝗌 𝗏𝖺𝗅𝗈𝗋𝖾𝗌, 𝗂𝗇𝖼𝗅𝗎𝗂𝗇𝖽𝗈 𝗈𝗌 𝗊𝗎𝖾 𝗌𝖾 𝖾𝗇𝖼𝗈𝗇𝗍𝗋𝖺𝗆 𝖺𝗌𝗌𝗈𝖼𝗂𝖺𝖽𝗈𝗌 𝖺 𝗍𝖾𝗇𝖽𝖾̂𝗇𝖼𝗂𝖺𝗌 "𝗐𝗈𝗄𝖾".
𝖮 𝗆𝗈𝗏𝗂𝗆𝖾𝗇𝗍𝗈 "𝗐𝗈𝗄𝖾" 𝗇𝖺̃𝗈 𝗋𝖾𝖼𝗈𝗇𝗁𝖾𝖼𝖾 𝖺 𝖾𝗑𝗂𝗌𝗍𝖾̂𝗇𝖼𝗂𝖺 𝖽𝖾 𝗎𝗆𝖺 𝗇𝖺𝗍𝗎𝗋𝖾𝗓𝖺 𝗈𝗎 𝖼𝗈𝗇𝖽𝗂𝖼̧𝖺̃𝗈 𝗁𝗎𝗆𝖺𝗇𝖺 𝖿𝗂𝗑𝖺 𝖾 𝗂𝗇𝖺𝗍𝖺, 𝗏𝖾𝗇𝖽𝗈 𝗈 𝗌𝖾𝗋 𝗁𝗎𝗆𝖺𝗇𝗈 𝖼𝗈𝗆𝗈 𝗎𝗆𝖺 𝖿𝗈𝗅𝗁𝖺 𝖾𝗆 𝖻𝗋𝖺𝗇𝖼𝗈, 𝖿𝗋𝗎𝗍𝗈 𝖽𝖾 𝗎𝗆 𝗉𝗋𝗈𝖼𝖾𝗌𝗌𝗈 𝖽𝖾 𝖼𝗈𝗇𝗌𝗍𝗋𝗎𝖼̧𝖺̃𝗈 𝗌𝗈𝖼𝗂𝖺𝗅 𝗊𝗎𝖾 𝖽𝖾𝗏𝖾 𝖺𝗅𝗂𝖼𝖾𝗋𝖼̧𝖺𝗋-𝗌𝖾 𝗇𝗎𝗆𝖺 𝗏𝗂𝗌𝖺̃𝗈 𝗈𝗋𝗂𝖾𝗇𝗍𝖺𝖽𝖺 𝗉𝖺𝗋𝖺 𝗈 𝖿𝗎𝗍𝗎𝗋𝗈 𝖾 𝗇𝗈 𝖺̂𝗆𝖻𝗂𝗍𝗈 𝖽𝖺 𝗊𝗎𝖺𝗅 𝖺 𝗇𝖺𝗋𝗋𝖺𝗍𝗂𝗏𝖺 𝖽𝗈𝗌 𝖿𝖺𝖼𝗍𝗈𝗌 𝗉𝖺𝗌𝗌𝖺𝖽𝗈𝗌 (𝖾 𝗈𝗌 𝖻𝖾𝗇𝗌 𝖼𝗎𝗅𝗍𝗎𝗋𝖺𝗂𝗌 𝖺 𝖾𝗅𝖺 𝖺𝗌𝗌𝗈𝖼𝗂𝖺𝖽𝗈𝗌) 𝗉𝗈𝖽𝖾𝗆 𝖾 𝖽𝖾𝗏𝖾𝗆 𝗌𝖾𝗋 𝖽𝗂𝗌𝗉𝖾𝗇𝗌𝖺𝖽𝗈𝗌.
𝖠 𝗊𝗎𝖾𝗌𝗍𝖺̃𝗈 𝗊𝗎𝖾 𝖺𝗊𝗎𝗂 𝗌𝖾 𝖼𝗈𝗅𝗈𝖼𝖺 𝖾́ 𝗈𝗇𝖽𝖾 𝗍𝗋𝖺𝖼̧𝖺𝗋 𝗈𝗌 𝗅𝗂𝗆𝗂𝗍𝖾𝗌 𝖾𝗇𝗍𝗋𝖾 𝖺 𝗅𝗂𝖻𝖾𝗋𝖽𝖺𝖽𝖾 𝖽𝖾 𝖾𝗑𝗉𝗋𝖾𝗌𝗌𝖺̃𝗈 𝖼𝗎𝗅𝗍𝗎𝗋𝖺𝗅 𝖾 𝗈𝗌 𝗏𝖺𝗅𝗈𝗋𝖾𝗌, 𝖼𝗋𝖾𝗇𝖼̧𝖺𝗌, 𝖼𝗈𝗇𝗏𝗂𝖼𝖼̧𝗈̃𝖾𝗌 𝖾 𝗉𝗋𝖺́𝗍𝗂𝖼𝖺𝗌 𝖽𝖾 𝗍𝖾𝗋𝖼𝖾𝗂𝗋𝗈𝗌, 𝗀𝗎𝖺𝗋𝖽𝗂𝗈̃𝖾𝗌 𝖽𝖺 𝖾𝗌𝗍𝖾́𝗍𝗂𝖼𝖺 𝖾 𝖽𝗈 𝖻𝗈𝗆 𝗀𝗈𝗌𝗍𝗈, 𝗊𝗎𝖾 𝖺𝖼𝗍𝗎𝖺𝗆 𝖾𝗆 𝗇𝗈𝗆𝖾 𝖽𝖾 𝗉𝖺𝖽𝗋𝗈̃𝖾𝗌 𝗂𝖽𝖾𝗈𝗅𝗈́𝗀𝗂𝖼𝗈𝗌, 𝗌𝗈𝖼𝗂𝖺𝗂𝗌 𝖾 𝖼𝗎𝗅𝗍𝗎𝗋𝖺𝗂𝗌 𝗊𝗎𝖾 𝗇𝖾𝗆 𝗌𝖾𝗆𝗉𝗋𝖾 𝗋𝖾𝖿𝗅𝖾𝖼𝗍𝖾𝗆 𝖺 𝗏𝗂𝗌𝖺̃𝗈 𝖽𝖺 𝗆𝖺𝗂𝗈𝗋𝗂𝖺,
𝖢𝗈𝗆𝖾𝖼𝖾𝗆𝗈𝗌 𝗉𝗈𝗋 𝗋𝖾𝗌𝗌𝖺𝗅𝗍𝖺𝗋 𝗊𝗎𝖾 𝖺 𝖢𝗈𝗇𝗏𝖾𝗇𝖼̧𝖺̃𝗈 𝖤𝗎𝗋𝗈𝗉𝖾𝗂𝖺 𝖽𝗈𝗌 𝖣𝗂𝗋𝖾𝗂𝗍𝗈𝗌 𝖧𝗎𝗆𝖺𝗇𝗈𝗌 (𝖾𝗆 𝖼𝗈𝗇𝗌𝗈𝗇𝖺̂𝗇𝖼𝗂𝖺 𝖼𝗈𝗆 𝖺 𝖣𝖾𝖼𝗅𝖺𝗋𝖺𝖼̧𝖺̃𝗈 𝖴𝗇𝗂𝗏𝖾𝗋𝗌𝖺𝗅 𝖽𝗈𝗌 𝖣𝗂𝗋𝖾𝗂𝗍𝗈𝗌 𝖧𝗎𝗆𝖺𝗇𝗈𝗌) 𝖼𝗈𝗇𝗌𝖺𝗀𝗋𝖺 𝗈 𝖽𝗂𝗋𝖾𝗂𝗍𝗈 𝖺̀ 𝗅𝗂𝖻𝖾𝗋𝖽𝖺𝖽𝖾 𝖽𝖾 𝖾𝗑𝗉𝗋𝖾𝗌𝗌𝖺̃𝗈, 𝗊𝗎𝖾 𝖺𝖻𝗋𝖺𝗇𝗀𝖾 𝗇𝖺̃𝗈 𝖺𝗉𝖾𝗇𝖺𝗌 𝖿𝗈𝗋𝗆𝖺𝗌 𝖽𝖾 𝖾𝗑𝗉𝗋𝖾𝗌𝗌𝖺̃𝗈 𝖽𝖾 𝗇𝖺𝗍𝗎𝗋𝖾𝗓𝖺 𝗉𝗈𝗅𝗂́𝗍𝗂𝖼𝖺, 𝗆𝖺𝗌 𝗍𝖺𝗆𝖻𝖾́𝗆 𝖺 𝖾𝗑𝗉𝗋𝖾𝗌𝗌𝖺̃𝗈 𝖺𝗋𝗍𝗂́𝗌𝗍𝗂𝖼𝖺. 𝖠 𝖼𝗋𝗂𝖺𝖼̧𝖺̃𝗈 𝗂𝗇𝗍𝖾𝗅𝖾𝖼𝗍𝗎𝖺𝗅 𝖽𝖾𝗏𝖾, 𝗉𝗈𝗂𝗌, 𝗌𝖾𝗋 𝗅𝗂𝗏𝗋𝖾.
𝖭𝖾𝗌𝗍𝖾 𝗊𝗎𝖺𝖽𝗋𝗈 𝗇𝗈𝗋𝗆𝖺𝗍𝗂𝗏𝗈, 𝗈 𝖳𝗋𝗂𝖻𝗎𝗇𝖺𝗅 𝖤𝗎𝗋𝗈𝗉𝖾𝗎 𝖽𝗈𝗌 𝖣𝗂𝗋𝖾𝗂𝗍𝗈𝗌 𝖧𝗎𝗆𝖺𝗇𝗈𝗌 𝖺𝗈 𝖾𝗑𝖺𝗆𝗂𝗇𝖺𝗋 𝗉𝗋𝗈𝖼𝖾𝗌𝗌𝗈𝗌 𝗋𝖾𝗅𝖺𝗍𝗂𝗏𝗈𝗌 𝖺 𝗉𝗈𝗍𝖾𝗇𝖼𝗂𝖺𝗂𝗌 𝗏𝗂𝗈𝗅𝖺𝖼̧𝗈̃𝖾𝗌 𝖽𝖺 𝗅𝗂𝖻𝖾𝗋𝖽𝖺𝖽𝖾 𝖽𝖾 𝖾𝗑𝗉𝗋𝖾𝗌𝗌𝖺̃𝗈 𝗇𝗈 𝖼𝗈𝗇𝗍𝖾𝗑𝗍𝗈 𝖽𝖾 𝗈𝖻𝗋𝖺𝗌 𝖺𝗋𝗍𝗂́𝗌𝗍𝗂𝖼𝖺𝗌 𝖾 𝗅𝗂𝗍𝖾𝗋𝖺́𝗋𝗂𝖺𝗌, 𝖾𝗆 𝖼𝗈𝗇𝖾𝗑𝖺̃𝗈, 𝗉𝗈𝗋 𝖾𝗑𝖾𝗆𝗉𝗅𝗈, 𝖼𝗈𝗆 𝗅𝗂𝗏𝗋𝗈𝗌 (𝖳𝗁𝖾 𝖫𝗂𝗍𝗍𝗅𝖾 𝖱𝖾𝖽 𝖲𝖼𝗁𝗈𝗈𝗅𝖻𝗈𝗈𝗄, 𝖧𝗂𝗌𝗍𝗈𝗋𝗒 𝗂𝗇 𝖬𝗈𝗎𝗋𝗇𝗂𝗇𝗀, 𝟥𝟥 𝖻𝗎𝗅𝗅𝖾𝗍𝗌, 𝖶𝖾 𝗆𝖺𝖽𝖾 𝖾𝖺𝖼𝗁 𝖽𝖺𝗐𝗇 𝖺 𝖭𝖾𝗐𝗋𝗈𝗓, 𝖫𝖾 𝖦𝗋𝖺𝗇𝖽 𝖲𝖾𝖼𝗋𝖾𝗍), 𝗉𝗂𝗇𝗍𝗎𝗋𝖺𝗌 (𝖳𝗁𝗋𝖾𝖾 𝖭𝗂𝗀𝗁𝗍𝗌, 𝖳𝗁𝗋𝖾𝖾 𝖯𝗂𝖼𝗍𝗎𝗋𝖾𝗌), 𝖿𝗂𝗅𝗆𝖾𝗌 (𝖢𝗈𝗎𝗇𝖼𝗂𝗅 𝗂𝗇 𝖧𝖾𝖺𝗏𝖾𝗇) 𝖾 𝖺𝗍𝖾́ 𝗉𝗈𝖾𝗆𝖺𝗌 (𝖮 𝖼𝖺𝗇𝗍𝗈 𝖽𝖾 𝗎𝗆𝖺 𝗋𝖾𝖻𝖾𝗅𝗂𝖺̃𝗈 - 𝖣𝖾𝗋𝗌𝗂𝗆), 𝗍𝖾𝗆 𝖺𝖼𝖾𝗇𝗍𝗎𝖺𝖽𝗈 𝗈 𝗂𝗆𝗉𝖾𝗋𝖺𝗍𝗂𝗏𝗈 𝖽𝖺 𝗅𝗂𝖻𝖾𝗋𝖽𝖺𝖽𝖾 𝖽𝖾 𝖾𝗑𝗉𝗋𝖾𝗌𝗌𝖺̃𝗈 𝖼𝗈𝗆𝗈 𝗎𝗆 𝖽𝗈𝗌 𝗉𝗂𝗅𝖺𝗋𝖾𝗌 𝖽𝖾 𝗊𝗎𝖺𝗅𝗊𝗎𝖾𝗋 𝗌𝗈𝖼𝗂𝖾𝖽𝖺𝖽𝖾 𝖽𝖾𝗆𝗈𝖼𝗋𝖺́𝗍𝗂𝖼𝖺.
𝖮 𝖳𝗋𝗂𝖻𝗎𝗇𝖺𝗅 𝖤𝗎𝗋𝗈𝗉𝖾𝗎 𝖽𝗈𝗌 𝖣𝗂𝗋𝖾𝗂𝗍𝗈𝗌 𝖧𝗎𝗆𝖺𝗇𝗈𝗌 𝗃𝖺́ 𝗋𝖾𝖼𝗈𝗇𝗁𝖾𝖼𝖾𝗎 𝗊𝗎𝖾 𝗈𝗌 𝖼𝗋𝗂𝖺𝖽𝗈𝗋𝖾𝗌 𝖽𝖾 𝖾𝗑𝗉𝗋𝖾𝗌𝗌𝖺̃𝗈 𝖼𝗎𝗅𝗍𝗎𝗋𝖺𝗅 𝖽𝖾𝗏𝖾𝗆 𝖾𝗏𝗂𝗍𝖺𝗋 𝗊𝗎𝖾 𝖾𝗌𝗌𝖺 𝖾𝗑𝗉𝗋𝖾𝗌𝗌𝖺̃𝗈 𝗌𝖾𝗃𝖺 𝗀𝗋𝖺𝗍𝗎𝗂𝗍𝖺𝗆𝖾𝗇𝗍𝖾 𝗈𝖿𝖾𝗇𝗌𝗂𝗏𝖺 𝖾𝗆 𝗋𝖾𝗅𝖺𝖼̧𝖺̃𝗈 𝖺̀𝗌 𝗈𝗉𝗂𝗇𝗂𝗈̃𝖾𝗌 𝗋𝖾𝗅𝗂𝗀𝗂𝗈𝗌𝖺𝗌 𝖾 𝖼𝗋𝖾𝗇𝖼̧𝖺𝗌 𝖽𝖾 𝗍𝖾𝗋𝖼𝖾𝗂𝗋𝗈𝗌, 𝗇𝖺̃𝗈 𝗌𝖺𝗇𝖼𝗂𝗈𝗇𝖺𝗇𝖽𝗈, 𝗍𝗈𝖽𝖺𝗏𝗂𝖺, 𝖺 𝖾𝗅𝗂𝗆𝗂𝗇𝖺𝖼̧𝖺̃𝗈 𝖽𝖺 𝖧𝗂𝗌𝗍𝗈́𝗋𝗂𝖺 𝗇𝖾𝗆 𝖺 𝗋𝖾𝗆𝗈𝖼̧𝖺̃𝗈, 𝗌𝖾𝗆 𝗆𝖺𝗂𝗌, 𝖽𝖾 𝖻𝖾𝗇𝗌 𝖼𝗎𝗅𝗍𝗎𝗋𝖺𝗂𝗌.
𝖢𝗈𝗆 𝖾𝖿𝖾𝗂𝗍𝗈, 𝗌𝖾𝗀𝗎𝗇𝖽𝗈 𝖾𝗌𝗌𝖾 𝖳𝗋𝗂𝖻𝗎𝗇𝖺𝗅, 𝖺 𝗅𝗂𝖻𝖾𝗋𝖽𝖺𝖽𝖾 𝖽𝖾 𝖾𝗑𝗉𝗋𝖾𝗌𝗌𝖺̃𝗈 𝗉𝖾𝗋𝗆𝗂𝗍𝖾, 𝖽𝖾 𝖿𝗈𝗋𝗆𝖺 𝗌𝖺𝗅𝗎𝗍𝖺𝗋, 𝖺 𝖽𝗂𝗏𝗎𝗅𝗀𝖺𝖼̧𝖺̃𝗈 𝖽𝖾 𝗂𝗇𝖿𝗈𝗋𝗆𝖺𝖼̧𝖺̃𝗈 𝖾 𝖽𝖾 𝗂𝖽𝖾𝗂𝖺𝗌, 𝗊𝗎𝖾𝗋 𝖾𝗌𝗍𝖺𝗌 𝗌𝖾𝗃𝖺𝗆 𝗋𝖾𝖼𝖾𝖻𝗂𝖽𝖺𝗌 𝖽𝖾 𝖿𝗈𝗋𝗆𝖺 𝖿𝖺𝗏𝗈𝗋𝖺́𝗏𝖾𝗅, 𝗊𝗎𝖾𝗋 𝗌𝖾𝗃𝖺𝗆 𝖼𝗈𝗇𝗌𝗂𝖽𝖾𝗋𝖺𝖽𝖺𝗌 𝗂𝗇𝗈𝖿𝖾𝗇𝗌𝗂𝗏𝖺𝗌, 𝗊𝗎𝖾𝗋 𝗌𝖾𝗃𝖺𝗆 𝗏𝗂𝗌𝗍𝖺𝗌 𝖼𝗈𝗆 𝗂𝗇𝖽𝗂𝖿𝖾𝗋𝖾𝗇𝖼̧𝖺, 𝗊𝗎𝖾𝗋 𝗈𝖿𝖾𝗇𝖽𝖺𝗆, 𝖼𝗁𝗈𝗊𝗎𝖾𝗆 𝗈𝗎 𝗉𝖾𝗋𝗍𝗎𝗋𝖻𝖺𝗆 𝗎𝗆 𝗈𝗎 𝗆𝖺𝗂𝗌 𝖾𝗅𝖾𝗆𝖾𝗇𝗍𝗈𝗌 𝖽𝖺 𝗉𝗈𝗉𝗎𝗅𝖺𝖼̧𝖺̃𝗈.
𝖲𝖺𝖻𝖾 𝖻𝖾𝗆 𝗈 𝖳𝗋𝗂𝖻𝗎𝗇𝖺𝗅 𝖤𝗎𝗋𝗈𝗉𝖾𝗎 𝖽𝗈𝗌 𝖣𝗂𝗋𝖾𝗂𝗍𝗈𝗌 𝖧𝗎𝗆𝖺𝗇𝗈𝗌 𝗊𝗎𝖾 𝗌𝗈́ 𝖺 𝗅𝗂𝖻𝖾𝗋𝖽𝖺𝖽𝖾 𝖽𝖾 𝖾𝗑𝗉𝗋𝖾𝗌𝗌𝖺̃𝗈 𝗀𝖺𝗋𝖺𝗇𝗍𝖾 𝖺 𝗅𝗂𝗏𝗋𝖾 𝖼𝗋𝗂𝖺𝖼̧𝖺̃𝗈 𝗅𝗂𝗍𝖾𝗋𝖺́𝗋𝗂𝖺 𝖾 𝖺𝗋𝗍𝗂́𝗌𝗍𝗂𝖼𝖺, 𝗊𝗎𝖾 𝖺𝗌 𝖺𝗋𝗍𝖾𝗌 𝖾 𝖺𝗌 𝗅𝖾𝗍𝗋𝖺𝗌 𝖽𝖾𝗌𝖺𝖿𝗂𝖺𝗆 𝖼𝗈𝗇𝗏𝖾𝗇𝖼̧𝗈̃𝖾𝗌, 𝗂𝗇𝖼𝗂𝗍𝖺𝗆 𝖺̀ 𝗋𝖾𝖿𝗅𝖾𝗑𝖺̃𝗈 𝖾 𝗂𝗇𝗌𝗉𝗂𝗋𝖺𝗆 𝗆𝗎𝖽𝖺𝗇𝖼̧𝖺 𝖾 𝗊𝗎𝖾 𝗊𝗎𝖺𝗇𝖽𝗈 𝖺 𝖾𝗑𝗉𝗋𝖾𝗌𝗌𝖺̃𝗈 𝖼𝗋𝗂𝖺𝗍𝗂𝗏𝖺 𝖾́ 𝗍𝗈𝗅𝗁𝗂𝖽𝖺 𝗉𝖾𝗅𝖺 𝖼𝖾𝗇𝗌𝗎𝗋𝖺 𝖾́ 𝗌𝗎𝖿𝗈𝖼𝖺𝖽𝖺 𝖺 𝖾𝗌𝗌𝖾̂𝗇𝖼𝗂𝖺 𝖽𝖺 𝗂𝗇𝗈𝗏𝖺𝖼̧𝖺̃𝗈 𝖾 𝖽𝗈 𝗉𝗋𝗈𝗀𝗋𝖾𝗌𝗌𝗈.
𝖢𝗈𝗇𝖼𝗅𝗎𝗂 𝖽𝖾 𝖿𝗈𝗋𝗆𝖺 𝗆𝖺𝗀𝗂𝗌𝗍𝗋𝖺𝗅 𝖾 𝗌𝗎𝗆𝖺́𝗋𝗂𝖺 𝗈 𝗋𝖾𝖿𝖾𝗋𝗂𝖽𝗈 𝖳𝗋𝗂𝖻𝗎𝗇𝖺𝗅 𝗊𝗎𝖾 "𝖺𝗊𝗎𝖾𝗅𝖾𝗌 𝗊𝗎𝖾 𝖼𝗋𝗂𝖺𝗆, 𝖾𝗑𝖾𝖼𝗎𝗍𝖺𝗆, 𝖽𝗂𝗌𝗍𝗋𝗂𝖻𝗎𝖾𝗆 𝗈𝗎 𝖾𝗑𝗂𝖻𝖾𝗆 𝗈𝖻𝗋𝖺𝗌 𝖽𝖾 𝗇𝖺𝗍𝗎𝗋𝖾𝗓𝖺 𝖼𝗎𝗅𝗍𝗎𝗋𝖺𝗅 𝖼𝗈𝗇𝗍𝗋𝗂𝖻𝗎𝖾𝗆 𝗉𝖺𝗋𝖺 𝖺 𝗍𝗋𝗈𝖼𝖺 𝖽𝖾 𝗂𝖽𝖾𝗂𝖺𝗌 𝖾 𝗈𝗉𝗂𝗇𝗂𝗈̃𝖾𝗌, 𝖺𝗅𝗀𝗈 𝖾𝗌𝗌𝖾𝗇𝖼𝗂𝖺𝗅 𝗇𝗎𝗆𝖺 𝗌𝗈𝖼𝗂𝖾𝖽𝖺𝖽𝖾 𝖽𝖾𝗆𝗈𝖼𝗋𝖺́𝗍𝗂𝖼𝖺".
𝖤 𝗇𝖾𝗌𝗍𝖾 𝖼𝗈𝗇𝗍𝖾𝗑𝗍𝗈 𝗅𝖾𝗀𝖺𝗅 𝖾 𝗃𝗎𝖽𝗂𝖼𝗂𝖺𝗅 𝗇𝖺̃𝗈 𝗉𝗈𝖽𝖾𝗆𝗈𝗌 𝗌𝖾𝗇𝖺̃𝗈 𝖼𝗈𝗇𝖼𝗅𝗎𝗂𝗋 𝗉𝗈𝗋 𝗎𝗆 𝗉𝗋𝗂𝗇𝖼𝗂́𝗉𝗂𝗈 𝖽𝖾 𝗂𝗇𝗍𝗈𝖼𝖺𝖻𝗂𝗅𝗂𝖽𝖺𝖽𝖾 𝖽𝖺 𝖾𝗑𝗉𝗋𝖾𝗌𝗌𝖺̃𝗈 𝗅𝗂𝗍𝖾𝗋𝖺́𝗋𝗂𝖺 𝖾 𝖺𝗋𝗍𝗂́𝗌𝗍𝗂𝖼𝖺 (𝖺 𝗇𝖺̃𝗈 𝗌𝖾𝗋 𝗉𝗈𝗋 𝗆𝗈𝗍𝗂𝗏𝗈𝗌 𝖽𝖾 𝖿𝗈𝗋𝖼̧𝖺 𝗆𝖺𝗂𝗈𝗋), 𝗊𝗎𝖾𝗋 𝖾𝗌𝗍𝖾𝗃𝖺𝗆 𝖾𝗆 𝖼𝖺𝗎𝗌𝖺 𝖻𝖾𝗇𝗌 𝖼𝗎𝗅𝗍𝗎𝗋𝖺𝗂𝗌 𝖽𝖾 𝗁𝗈𝗃𝖾, 𝗊𝗎𝖾𝗋 𝗌𝖾 𝗍𝗋𝖺𝗍𝖾 𝖽𝖺 𝖠𝗋𝗍𝖾 𝖽𝖾 𝗈𝗇𝗍𝖾𝗆.
* Fundadora de GPI/IPO, Gabinete de Jurisconsultoria e Associate de CIPIL, University of Cambridge
IN "DIÁRIO DE NOTÍCIAS" -20/09/23 .
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