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26/11/2025
LV-OS RIOS E A VIDA
7- RIO SHANAY-TIMPISHKA
O RIO FERVENTE
PUERTO INCA
AMAZÓNIA
PERÚ
(CONTINUA PRÓXIMA QUARTA)
FONTE: 
NR: Como os senhores visitadores já repararam estamos a apresentar vídeos isolados sobre este misterioso rio. A razão é porque ainda não encontrámos nenhum filme reportagem com qualidade garantida, continuaremos a procurar.
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AOS VISITADORES
Recebemos várias comunicações de que as postagens vídeos inseridas hoje no blogue não abriam.
Fomos verificar e relatamos o que está a acontecer:
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Este precalço não é da nossa responsabilidade é da entidade global gestora, mas apresentamos as nossas desculpas pelo insólito.
A REDACÇÃO
JOÃO BERNARDO NARCISO
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A cultura dos jogos na
construção da manosfera
Na era digital, os jogos online tornaram-se mais do que passatempos.
Para muitos, os jogos e as comunidades que deles nascem são a principal
fonte de interação humana. É por isso expectável que se apontem dedos
aos videojogos quando falamos da radicalização dos jovens, em particular
dos rapazes.
𝖠 𝖼𝗎𝗅𝗍𝗎𝗋𝖺 𝖽𝗈𝗌 𝗃𝗈𝗀𝗈𝗌 𝖾́, 𝖽𝖾𝗌𝖽𝖾 𝗌𝖾𝗆𝗉𝗋𝖾, 𝗋𝖾𝖿𝗅𝖾𝗑𝗈 𝖽𝖺𝗌 𝗌𝗈𝖼𝗂𝖾𝖽𝖺𝖽𝖾𝗌 𝗊𝗎𝖾 𝗈𝗌 𝖼𝗋𝗂𝖺𝗆. 𝖢𝖺𝖽𝖺 𝗃𝗈𝗀𝗈 𝖾́ 𝗎𝗆𝖺 𝗆𝗂𝗇𝗂𝖺𝗍𝗎𝗋𝖺 𝖽𝗈 𝗆𝗎𝗇𝖽𝗈: 𝗎𝗆 𝗍𝖾𝗋𝗋𝗂𝗍𝗈́𝗋𝗂𝗈 𝗍𝖾𝗆𝗉𝗈𝗋𝖺́𝗋𝗂𝗈 𝗈𝗎 𝗎𝗆 𝗅𝖺𝖻𝗈𝗋𝖺𝗍𝗈́𝗋𝗂𝗈 𝗌𝗂𝗆𝖻𝗈́𝗅𝗂𝖼𝗈 𝗈𝗇𝖽𝖾 𝗌𝖾 𝖾𝗇𝗌𝖺𝗂𝖺𝗆 𝗁𝗂𝖾𝗋𝖺𝗋𝗊𝗎𝗂𝖺𝗌, 𝗏𝖺𝗅𝗈𝗋𝖾𝗌 𝖾 𝗋𝖾𝗅𝖺𝖼̧𝗈̃𝖾𝗌, 𝗈𝗇𝖽𝖾 𝗌𝖾 𝗉𝗈𝖽𝖾 𝗏𝖾𝗇𝖼𝖾𝗋, 𝗉𝖾𝗋𝖽𝖾𝗋, 𝗋𝖾𝖼𝗈𝗆𝖾𝖼̧𝖺𝗋 𝗈𝗎 𝗌𝗂𝗆𝗉𝗅𝖾𝗌𝗆𝖾𝗇𝗍𝖾 𝖾𝗑𝗂𝗌𝗍𝗂𝗋. 𝖩𝗈𝗀𝖺𝗋 𝖾́ 𝗉𝖺𝗋𝗍𝗂𝖼𝗂𝗉𝖺𝗋 (𝗆𝖺𝗌 𝗍𝖺𝗆𝖻𝖾́𝗆 𝖼𝗋𝗂𝖺𝗋) 𝗇𝗎𝗆 𝗎𝗇𝗂𝗏𝖾𝗋𝗌𝗈 𝖼𝗈𝗆 𝗋𝖾𝗀𝗋𝖺𝗌 𝗉𝗋𝗈́𝗉𝗋𝗂𝖺𝗌. 𝖮𝗌 𝗃𝗈𝗀𝗈𝗌 𝗆𝗈𝗌𝗍𝗋𝖺𝗆-𝗇𝗈𝗌 𝗊𝗎𝖾 𝗇𝖾𝗇𝗁𝗎𝗆𝖺 𝗋𝖾𝗀𝗋𝖺 𝖾́ 𝗇𝖺𝗍𝗎𝗋𝖺𝗅, 𝗍𝗈𝖽𝖺𝗌 𝗌𝖺̃𝗈 𝗂𝗇𝗏𝖾𝗇𝗍𝖺𝖽𝖺𝗌, 𝖾 𝗉𝗈𝗋 𝗂𝗌𝗌𝗈 𝗍𝗈𝖽𝖺𝗌 𝗉𝗈𝖽𝖾𝗆 𝗌𝖾𝗋 𝖺𝗅𝗍𝖾𝗋𝖺𝖽𝖺𝗌. 𝖭𝗈𝗌 𝗃𝗈𝗀𝗈𝗌, 𝗋𝖾𝗉𝗋𝗈𝖽𝗎𝗓𝗂𝗆𝗈𝗌 𝗈 𝗆𝗎𝗇𝖽𝗈 𝖾 𝗍𝖺𝗆𝖻𝖾́𝗆 𝗈 𝗋𝖾𝗂𝗇𝗏𝖾𝗇𝗍𝖺𝗆𝗈𝗌.
𝖭𝖺 𝖾𝗋𝖺 𝖽𝗂𝗀𝗂𝗍𝖺𝗅, 𝗈𝗌 𝗃𝗈𝗀𝗈𝗌 𝗈𝗇𝗅𝗂𝗇𝖾 𝗍𝗈𝗋𝗇𝖺𝗋𝖺𝗆-𝗌𝖾 𝗆𝖺𝗂𝗌 𝖽𝗈 𝗊𝗎𝖾 𝗉𝖺𝗌𝗌𝖺𝗍𝖾𝗆𝗉𝗈𝗌. 𝖲𝖺̃𝗈 𝖾𝗌𝗉𝖺𝖼̧𝗈𝗌 𝖽𝖾 𝗌𝗈𝖼𝗂𝖺𝗅𝗂𝗓𝖺𝖼̧𝖺̃𝗈, 𝖽𝖾 𝗉𝖾𝗋𝗍𝖾𝗇𝖼̧𝖺 𝖾 𝖽𝖾 𝗉𝖾𝗋𝖿𝗈𝗋𝗆𝖺𝗇𝖼𝖾. 𝖯𝖺𝗋𝖺 𝗆𝗎𝗂𝗍𝗈𝗌, 𝗈𝗌 𝗃𝗈𝗀𝗈𝗌 𝖾 𝖺𝗌 𝖼𝗈𝗆𝗎𝗇𝗂𝖽𝖺𝖽𝖾𝗌 𝗊𝗎𝖾 𝖽𝖾𝗅𝖾𝗌 𝗇𝖺𝗌𝖼𝖾𝗆 𝗌𝖺̃𝗈 𝖺 𝗉𝗋𝗂𝗇𝖼𝗂𝗉𝖺𝗅 𝖿𝗈𝗇𝗍𝖾 𝖽𝖾 𝗂𝗇𝗍𝖾𝗋𝖺𝖼̧𝖺̃𝗈 𝗁𝗎𝗆𝖺𝗇𝖺. 𝖤́ 𝗉𝗈𝗋 𝗂𝗌𝗌𝗈 𝖾𝗑𝗉𝖾𝖼𝗍𝖺́𝗏𝖾𝗅 𝗊𝗎𝖾 𝗌𝖾 𝖺𝗉𝗈𝗇𝗍𝖾𝗆 𝖽𝖾𝖽𝗈𝗌 𝖺𝗈𝗌 𝗏𝗂𝖽𝖾𝗈𝗃𝗈𝗀𝗈𝗌 𝗊𝗎𝖺𝗇𝖽𝗈 𝖿𝖺𝗅𝖺𝗆𝗈𝗌 𝖽𝖺 𝗋𝖺𝖽𝗂𝖼𝖺𝗅𝗂𝗓𝖺𝖼̧𝖺̃𝗈 𝖽𝗈𝗌 𝗃𝗈𝗏𝖾𝗇𝗌, 𝖾𝗆 𝗉𝖺𝗋𝗍𝗂𝖼𝗎𝗅𝖺𝗋 𝖽𝗈𝗌 𝗋𝖺𝗉𝖺𝗓𝖾𝗌.
#𝖦𝖺𝗆𝖾𝗋𝖦𝖺𝗍𝖾 𝖾 𝗀𝗎𝖾𝗋𝗋𝖺 𝖼𝗎𝗅𝗍𝗎𝗋𝖺𝗅
𝖤́ 𝗂𝗆𝗉𝗈𝗌𝗌ı́𝗏𝖾𝗅 𝖿𝖺𝗅𝖺𝗋 𝖽𝖾 𝗃𝗈𝗀𝗈𝗌 𝖾 𝖽𝖾 𝗆𝖺𝗇𝗈𝖾𝗌𝖿𝖾𝗋𝖺 𝗌𝖾𝗆 𝖿𝖺𝗅𝖺𝗋 𝖽𝖾 #𝖦𝖺𝗆𝖾𝗋𝖦𝖺𝗍𝖾. 𝖤𝗌𝗍𝖾 𝖾𝗉𝗂𝗌𝗈́𝖽𝗂𝗈, 𝗊𝗎𝖾 𝖾𝗑𝗉𝗅𝗈𝖽𝗂𝗎 𝖾𝗆 𝟤𝟢𝟣𝟦, 𝖿𝗈𝗂 𝗎𝗆 𝗆𝗈𝗆𝖾𝗇𝗍𝗈 𝗂𝗆𝗉𝗈𝗋𝗍𝖺𝗇𝗍𝖾 𝖽𝖾 𝗌𝗈𝖻𝗋𝖾𝗉𝗈𝗌𝗂𝖼̧𝖺̃𝗈 𝖾𝗇𝗍𝗋𝖾 𝗎𝗆𝖺 𝗉𝖺𝗋𝗍𝖾 𝖽𝖺 𝖼𝗈𝗆𝗎𝗇𝗂𝖽𝖺𝖽𝖾 𝗀𝖺𝗆𝖾𝗋 𝖾 𝖺 𝗆𝖺𝗇𝗈𝗌𝖿𝖾𝗋𝖺. 𝖮 𝗊𝗎𝖾 𝖼𝗈𝗆𝖾𝖼̧𝗈𝗎 𝖼𝗈𝗆𝗈 𝗉𝗈𝗌𝗍 𝖽𝖾 𝗎𝗆 𝖾𝗑-𝗇𝖺𝗆𝗈𝗋𝖺𝖽𝗈 𝖺 𝖺𝖼𝗎𝗌𝖺𝗋 𝖿𝖺𝗅𝗌𝖺𝗆𝖾𝗇𝗍𝖾 𝗎𝗆𝖺 𝖼𝗋𝗂𝖺𝖽𝗈𝗋𝖺 𝖽𝖾 𝗃𝗈𝗀𝗈𝗌 𝗂𝗇𝖽𝖾𝗉𝖾𝗇𝖽𝖾𝗇𝗍𝖾𝗌 𝖽𝖾 𝖻𝖾𝗇𝖾𝖿𝗂𝖼𝗂𝖺𝗋 𝖽𝖾 𝗂𝗆𝗉𝗋𝖾𝗇𝗌𝖺 𝗉𝗈𝗌𝗂𝗍𝗂𝗏𝖺 𝗉𝗈𝗋 𝗍𝖾𝗋 𝗍𝗂𝖽𝗈 𝗋𝖾𝗅𝖺𝖼̧𝗈̃𝖾𝗌 𝗌𝖾𝗑𝗎𝖺𝗂𝗌 𝖼𝗈𝗆 𝗎𝗆 𝗃𝗈𝗋𝗇𝖺𝗅𝗂𝗌𝗍𝖺 𝗍𝗈𝗋𝗇𝗈𝗎-𝗌𝖾 𝗋𝖺𝗉𝗂𝖽𝖺𝗆𝖾𝗇𝗍𝖾 𝗇𝗎𝗆𝖺 𝖼𝖺𝗆𝗉𝖺𝗇𝗁𝖺 𝖼𝗈𝗈𝗋𝖽𝖾𝗇𝖺𝖽𝖺 𝖽𝖾 𝖺𝗌𝗌𝖾́𝖽𝗂𝗈 𝖼𝗈𝗇𝗍𝗋𝖺 𝗆𝗎𝗅𝗁𝖾𝗋𝖾𝗌, 𝗉𝖾𝗌𝗌𝗈𝖺𝗌 𝗊𝗎𝖾𝖾𝗋 𝖾 𝗃𝗈𝗋𝗇𝖺𝗅𝗂𝗌𝗍𝖺𝗌 𝗊𝗎𝖾 𝖽𝖾𝖿𝖾𝗇𝖽𝗂𝖺𝗆 𝗎𝗆𝖺 𝗅𝖾𝗂𝗍𝗎𝗋𝖺 𝗆𝖺𝗂𝗌 𝗂𝗇𝖼𝗅𝗎𝗌𝗂𝗏𝖺 𝖽𝖺 𝖼𝗎𝗅𝗍𝗎𝗋𝖺 𝖽𝗈𝗌 𝗃𝗈𝗀𝗈𝗌.
𝖲𝗈𝖻 𝖺 𝖻𝖺𝗇𝖽𝖾𝗂𝗋𝖺 𝖽𝖺 “𝖾́𝗍𝗂𝖼𝖺 𝗇𝗈 𝗃𝗈𝗋𝗇𝖺𝗅𝗂𝗌𝗆𝗈 𝖽𝖾 𝗏𝗂𝖽𝖾𝗈𝗃𝗈𝗀𝗈𝗌”, 𝖿𝗈𝗋𝗆𝗈𝗎-𝗌𝖾 𝗎𝗆 𝗆𝗈𝗏𝗂𝗆𝖾𝗇𝗍𝗈 𝖽𝖾 𝗆𝗂𝗅𝗁𝖺𝗋𝖾𝗌 𝖽𝖾 𝗎𝗍𝗂𝗅𝗂𝗓𝖺𝖽𝗈𝗋𝖾𝗌 𝗆𝗈𝖻𝗂𝗅𝗂𝗓𝖺𝖽𝗈𝗌 𝖾𝗆 𝖿𝗈́𝗋𝗎𝗇𝗌, 𝗇𝗈 𝖳𝗐𝗂𝗍𝗍𝖾𝗋 𝖾 𝗇𝗈 𝖱𝖾𝖽𝖽𝗂𝗍. 𝖮 𝗌𝖾𝗎 𝗏𝖾𝗋𝖽𝖺𝖽𝖾𝗂𝗋𝗈 𝖺𝗅𝗏𝗈 𝗇𝖺̃𝗈 𝖾𝗋𝖺 𝖺 𝖼𝗈𝗋𝗋𝗎𝗉𝖼̧𝖺̃𝗈 𝗆𝖾𝖽𝗂𝖺́𝗍𝗂𝖼𝖺, 𝗆𝖺𝗌 𝖺 𝗂𝖽𝖾𝗂𝖺 𝖽𝖾 𝗊𝗎𝖾 𝗈 𝗆𝗎𝗇𝖽𝗈 𝖽𝗈𝗌 𝗃𝗈𝗀𝗈𝗌 𝗉𝗎𝖽𝖾𝗌𝗌𝖾 𝗉𝖾𝗋𝗍𝖾𝗇𝖼𝖾𝗋 𝖺 𝗆𝖺𝗂𝗌 𝖺𝗅𝗀𝗎𝖾́𝗆 𝗊𝗎𝖾 𝗇𝖺̃𝗈 𝖺𝗈𝗌 𝗁𝗈𝗆𝖾𝗇𝗌 𝖻𝗋𝖺𝗇𝖼𝗈𝗌 𝖼𝗂𝗌 𝗁𝖾𝗍𝖾𝗋𝗈, 𝗊𝗎𝖾 𝖾𝗌𝗍𝖺𝗋𝗂𝖺𝗆 𝗌𝖾𝗆𝗉𝗋𝖾 𝖾𝗆 𝖽𝖾𝗌𝗏𝖺𝗇𝗍𝖺𝗀𝖾𝗆 𝗇𝖾𝗌𝗍𝖾 𝗇𝗈𝗏𝗈 𝗆𝗎𝗇𝖽𝗈 𝗊𝗎𝖾 𝗌𝖾𝗋𝗂𝖺 𝗉𝗋𝖾𝖼𝗂𝗌𝗈 𝖽𝖾𝗌𝗍𝗋𝗎𝗂𝗋. 𝖬𝗎𝗅𝗁𝖾𝗋𝖾𝗌 𝖼𝗋𝗂𝖺𝖽𝗈𝗋𝖺𝗌 𝖿𝗈𝗋𝖺𝗆 𝗉𝖾𝗋𝗌𝖾𝗀𝗎𝗂𝖽𝖺𝗌, 𝖾𝗇𝖽𝖾𝗋𝖾𝖼̧𝗈𝗌 𝗉𝖾𝗌𝗌𝗈𝖺𝗂𝗌 𝗉𝗎𝖻𝗅𝗂𝖼𝖺𝖽𝗈𝗌, 𝖺𝗆𝖾𝖺𝖼̧𝖺𝗌 𝖽𝖾 𝗆𝗈𝗋𝗍𝖾 𝖾 𝖽𝖾 𝗏𝗂𝗈𝗅𝖺𝖼̧𝖺̃𝗈 𝗆𝗎𝗅𝗍𝗂𝗉𝗅𝗂𝖼𝖺𝗋𝖺𝗆-𝗌𝖾. 𝖮 𝗍𝖾𝗋𝗆𝗈 “𝖿𝖾𝗆𝗂𝗇𝗂𝗌𝗍𝖺” 𝗍𝗈𝗋𝗇𝗈𝗎-𝗌𝖾 𝗂𝗇𝗌𝗎𝗅𝗍𝗈; “𝗃𝗎𝗌𝗍𝗂𝖼̧𝖺 𝗌𝗈𝖼𝗂𝖺𝗅” 𝗏𝗂𝗋𝗈𝗎 𝗌𝗂𝗇𝗈́𝗇𝗂𝗆𝗈 𝖽𝖾 𝖼𝖾𝗇𝗌𝗎𝗋𝖺.
𝖮 #𝖦𝖺𝗆𝖾𝗋𝖦𝖺𝗍𝖾 𝖿𝗎𝗇𝖼𝗂𝗈𝗇𝗈𝗎 𝖼𝗈𝗆𝗈 𝗎𝗆 𝗋𝗂𝗍𝗎𝖺𝗅 𝖽𝖾 𝗂𝗇𝗂𝖼𝗂𝖺𝖼̧𝖺̃𝗈 𝗉𝗈𝗅ı́𝗍𝗂𝖼𝖺. 𝖬𝗎𝗂𝗍𝗈𝗌 𝖽𝗈𝗌 𝗌𝖾𝗎𝗌 𝗉𝖺𝗋𝗍𝗂𝖼𝗂𝗉𝖺𝗇𝗍𝖾𝗌 𝗆𝗂𝗀𝗋𝖺𝗋𝖺𝗆 𝖽𝖾𝗉𝗈𝗂𝗌 𝗉𝖺𝗋𝖺 𝗈𝗎𝗍𝗋𝗈𝗌 𝗆𝗈𝗏𝗂𝗆𝖾𝗇𝗍𝗈𝗌 𝗈𝗇𝗅𝗂𝗇𝖾 (𝖺𝗇𝗍𝗂𝖿𝖾𝗆𝗂𝗇𝗂𝗌𝗍𝖺𝗌, 𝗇𝖺𝖼𝗂𝗈𝗇𝖺𝗅𝗂𝗌𝗍𝖺𝗌, 𝖼𝗈𝗇𝗌𝗉𝗂𝗋𝖺𝖼𝗂𝗈𝗇𝗂𝗌𝗍𝖺𝗌) 𝗊𝗎𝖾 𝗁𝗈𝗃𝖾 𝖼𝗈𝗆𝗉𝗈̃𝖾𝗆 𝗈 𝖾𝖼𝗈𝗌𝗌𝗂𝗌𝗍𝖾𝗆𝖺 𝖽𝖺 𝗆𝖺𝗇𝗈𝗌𝖿𝖾𝗋𝖺 𝖾 𝖽𝖺 𝖾𝗑𝗍𝗋𝖾𝗆𝖺-𝖽𝗂𝗋𝖾𝗂𝗍𝖺 𝖽𝗂𝗀𝗂𝗍𝖺𝗅. 𝖠𝗉𝗋𝖾𝗇𝖽𝖾𝗋𝖺𝗆 𝖺𝗅𝗂 𝖺 𝗀𝗋𝖺𝗆𝖺́𝗍𝗂𝖼𝖺 𝖽𝖺 𝗆𝗈𝖻𝗂𝗅𝗂𝗓𝖺𝖼̧𝖺̃𝗈 𝖾𝗆 𝗋𝖾𝖽𝖾, 𝗈 𝗎𝗌𝗈 𝖽𝗈 𝗁𝗎𝗆𝗈𝗋 𝖼𝗈𝗆𝗈 𝖺𝗋𝗆𝖺, 𝖺 𝗍𝗋𝖺𝗇𝗌𝖿𝗈𝗋𝗆𝖺𝖼̧𝖺̃𝗈 𝖽𝖺 𝗂𝗇𝖽𝗂𝗀𝗇𝖺𝖼̧𝖺̃𝗈 𝖾𝗆 𝗂𝖽𝖾𝗇𝗍𝗂𝖽𝖺𝖽𝖾. 𝖮𝗌 𝗏𝗂𝖽𝖾𝗈𝗃𝗈𝗀𝗈𝗌, 𝗊𝗎𝖾 𝖾𝗑𝗂𝗌𝗍𝗂𝖺𝗆 𝖺̀ 𝗉𝗋𝗂𝗆𝖾𝗂𝗋𝖺 𝗏𝗂𝗌𝗍𝖺 𝖼𝗈𝗆𝗈 𝗂𝗇𝗍𝖾𝗋𝖾𝗌𝗌𝖾 𝖼𝗈𝗆𝗎𝗆, 𝗌𝖾𝗋𝗏𝗂𝗋𝖺𝗆 𝖼𝗈𝗆𝗈 𝗆𝖾𝗋𝗈 𝗉𝖺𝗇𝗈 𝖽𝖾 𝖿𝗎𝗇𝖽𝗈, 𝗍𝖾𝗇𝖽𝗈 𝗆𝗎𝗂𝗍𝗈 𝗉𝗈𝗎𝖼𝗈 𝗊𝗎𝖾 𝗏𝖾𝗋 𝖼𝗈𝗆 𝖺 𝖻𝖺𝗍𝖺𝗅𝗁𝖺 𝗂𝖽𝖾𝗈𝗅𝗈́𝗀𝗂𝖼𝖺 𝗊𝗎𝖾 𝗌𝖾 𝗍𝗋𝖺𝗏𝗈𝗎.
𝖫𝗂𝗇𝗀𝗎𝖺𝗀𝖾𝗆 𝖾 𝗉𝗈́𝗌-𝗂𝗋𝗈𝗇𝗂𝖺
𝖤́ 𝗇𝖺𝗍𝗎𝗋𝖺𝗅 𝗊𝗎𝖾, 𝗌𝖾𝗇𝖽𝗈 𝖺 𝗂𝗇𝗍𝖾𝗋𝗇𝖾𝗍 𝗈 𝗉𝗋𝗂𝗇𝖼𝗂𝗉𝖺𝗅 𝗆𝖾𝗂𝗈 𝖽𝖾 𝖿𝗈𝗋𝗆𝖺𝖼̧𝖺̃𝗈 𝗉𝗈𝗅ı́𝗍𝗂𝖼𝖺 𝗉𝖺𝗋𝖺 𝗆𝗎𝗂𝗍𝗈𝗌 𝖾 𝗍𝖾𝗇𝖽𝗈 𝗈𝗌 𝗏𝗂𝖽𝖾𝗈𝗃𝗈𝗀𝗈𝗌 𝖼𝗈𝗆𝗈 𝗋𝖾𝖿𝖾𝗋𝖾𝗇𝗍𝖾 𝖼𝗈𝗆𝗎𝗆 𝗉𝖺𝗋𝖺 𝗆𝗎𝗂𝗍𝗈𝗌 𝗃𝗈𝗏𝖾𝗇𝗌, 𝖺 𝗅𝗂𝗇𝗀𝗎𝖺𝗀𝖾𝗆 𝖽𝗈𝗌 𝗃𝗈𝗀𝗈𝗌 𝗌𝖾𝗃𝖺 𝗎𝗍𝗂𝗅𝗂𝗓𝖺𝖽𝖺 𝗉𝖺𝗋𝖺 𝖼𝗈𝗆𝗎𝗇𝗂𝖼𝖺𝗋 𝗂𝖽𝖾𝗂𝖺𝗌 𝗉𝗈𝗅ı́𝗍𝗂𝖼𝖺𝗌. 𝖤́ 𝗍𝖺𝗆𝖻𝖾́𝗆 𝗇𝖺𝗍𝗎𝗋𝖺𝗅 𝗊𝗎𝖾 𝖾𝗌𝗌𝖺 𝗅𝗂𝗇𝗀𝗎𝖺𝗀𝖾𝗆 𝖺𝖼𝖺𝖻𝖾 𝗉𝗈𝗋 𝗍𝗋𝖺𝗇𝗌𝖻𝗈𝗋𝖽𝖺𝗋 𝗉𝖺𝗋𝖺 𝗈 𝗆𝗎𝗇𝖽𝗈 𝗋𝖾𝖺𝗅. 𝖮 𝗋𝖾𝖼𝖾𝗇𝗍𝖾 𝖺𝗌𝗌𝖺𝗌𝗌𝗂𝗇𝖺𝗍𝗈 𝖽𝖾 𝖢𝗁𝖺𝗋𝗅𝗂𝖾 𝖪𝗂𝗋𝗄, 𝗎𝗆 𝗆𝖾𝗆𝖻𝗋𝗈 𝖽𝖺 𝖾𝗑𝗍𝗋𝖾𝗆𝖺-𝖽𝗂𝗋𝖾𝗂𝗍𝖺 𝖽𝗈𝗌 𝖤𝖴𝖠, 𝗋𝖾𝗏𝖾𝗅𝗈𝗎 𝗊𝗎𝖾 𝖺𝗌 𝗆𝗎𝗇𝗂𝖼̧𝗈̃𝖾𝗌 𝗎𝗌𝖺𝖽𝖺𝗌 𝗉𝖾𝗅𝗈 𝖺𝗍𝗂𝗋𝖺𝖽𝗈𝗋 𝗍𝗂𝗇𝗁𝖺𝗆 𝗂𝗇𝗌𝖼𝗋𝗂𝗍𝖺𝗌 𝖿𝗋𝖺𝗌𝖾𝗌 𝖾 𝗌ı́𝗆𝖻𝗈𝗅𝗈𝗌 𝖺𝗉𝖺𝗋𝖾𝗇𝗍𝖾𝗆𝖾𝗇𝗍𝖾 𝖼𝗈𝗆 𝗋𝖾𝖿𝖾𝗋𝖾̂𝗇𝖼𝗂𝖺𝗌 𝖺 𝗃𝗈𝗀𝗈𝗌 𝖾 𝖺 𝗈𝗎𝗍𝗋𝖺𝗌 𝗌𝗎𝖻𝖼𝗎𝗅𝗍𝗎𝗋𝖺𝗌 𝖽𝖺 𝗂𝗇𝗍𝖾𝗋𝗇𝖾𝗍, 𝗆𝖺𝗌 𝗌𝖾𝗆 𝗀𝗋𝖺𝗇𝖽𝖾 𝗌𝗂𝗀𝗇𝗂𝖿𝗂𝖼𝖺𝖽𝗈 𝖺𝗉𝖺𝗋𝖾𝗇𝗍𝖾.
𝖤𝗌𝗌𝖺𝗌 𝗂𝗇𝗌𝖼𝗋𝗂𝖼̧𝗈̃𝖾𝗌 𝗇𝖺̃𝗈 𝗉𝗋𝗈𝗏𝖺𝗆 𝗊𝗎𝖾 𝗈𝗌 𝗃𝗈𝗀𝗈𝗌 𝗀𝖾𝗋𝖺𝗆 𝗏𝗂𝗈𝗅𝖾̂𝗇𝖼𝗂𝖺, 𝗆𝖺𝗌 𝗆𝗈𝗌𝗍𝗋𝖺𝗆 𝖼𝗈𝗆𝗈 𝖺 𝗅𝗂𝗇𝗀𝗎𝖺𝗀𝖾𝗆 𝗅𝗎́𝖽𝗂𝖼𝖺 𝖾 𝗂𝗋𝗈́𝗇𝗂𝖼𝖺 𝖽𝖺 𝗂𝗇𝗍𝖾𝗋𝗇𝖾𝗍 𝗌𝖾 𝗍𝗈𝗋𝗇𝗈𝗎 𝗎𝗆 𝗂𝖽𝗂𝗈𝗆𝖺 𝖼𝗈𝗆𝗎𝗆, 𝖾𝗆 𝗊𝗎𝖾 𝗆𝗎𝗂𝗍𝖺𝗌 𝗏𝖾𝗓𝖾𝗌 𝖾́ 𝖽𝗂𝖿ı́𝖼𝗂𝗅 𝖽𝗂𝗌𝗍𝗂𝗇𝗀𝗎𝗂𝗋 𝗈 𝗇𝗈𝗇𝗌𝖾𝗇𝗌𝖾 𝖽𝖺𝗊𝗎𝗂𝗅𝗈 𝗊𝗎𝖾 𝖾́ “𝗉𝗈́𝗌-𝗂𝗋𝗈́𝗇𝗂𝖼𝗈”, 𝗈𝗎 𝗌𝖾𝗃𝖺, 𝖾́ 𝗎𝗆𝖺 𝗆𝖾𝗇𝗌𝖺𝗀𝖾𝗆 𝗊𝗎𝖾 𝗏𝖾𝗂𝖼𝗎𝗅𝖺 𝗎𝗆𝖺 𝗈𝗉𝗂𝗇𝗂𝖺̃𝗈 𝗆𝖺𝗂𝗌 𝗈𝗎 𝗆𝖾𝗇𝗈𝗌 𝗅𝗂𝗍𝖾𝗋𝖺𝗅, 𝗆𝖺𝗌 𝖽𝖾 𝗎𝗆𝖺 𝖿𝗈𝗋𝗆𝖺 𝗂𝗋𝗈́𝗇𝗂𝖼𝖺.
𝖭𝖾𝗌𝗌𝖾 𝖺𝗆𝖻𝗂𝖾𝗇𝗍𝖾 𝖾𝗆 𝗊𝗎𝖾 𝗍𝗎𝖽𝗈 𝖾́ 𝗎𝗆 𝗃𝗈𝗀𝗈, 𝖺 𝖿𝗋𝗈𝗇𝗍𝖾𝗂𝗋𝖺 𝖾𝗇𝗍𝗋𝖾 𝗉𝗂𝖺𝖽𝖺 𝖾 𝖺𝗀𝗋𝖾𝗌𝗌𝖺̃𝗈 𝗍𝗈𝗋𝗇𝖺-𝗌𝖾 𝖽𝗂𝖿𝗎𝗌𝖺. 𝖮 𝗉𝗋𝗈𝖻𝗅𝖾𝗆𝖺 𝗇𝖺̃𝗈 𝖾́ 𝗈 𝗃𝗈𝗀𝗈 𝖾𝗆 𝗌𝗂, 𝗆𝖺𝗌 𝗈 𝗆𝗈𝖽𝗈 𝖼𝗈𝗆𝗈 𝖼𝖾𝗋𝗍𝖺𝗌 𝖼𝗈𝗆𝗎𝗇𝗂𝖽𝖺𝖽𝖾𝗌 𝗍𝗋𝖺𝗇𝗌𝖿𝗈𝗋𝗆𝖺𝗆 𝖺 𝗂𝗋𝗈𝗇𝗂𝖺 𝖾𝗆 𝖼𝗂𝗇𝗂𝗌𝗆𝗈 𝖾 𝗈 𝗋𝗂𝗌𝗈 𝖾𝗆 𝗋𝖾𝗌𝗌𝖾𝗇𝗍𝗂𝗆𝖾𝗇𝗍𝗈. 𝖩𝗈𝗀𝖺𝗋 𝗇𝖺̃𝗈 𝖼𝗋𝗂𝖺 𝗆𝗈𝗇𝗌𝗍𝗋𝗈𝗌; 𝗈 𝗊𝗎𝖾 𝖾́ 𝗉𝖾𝗋𝗂𝗀𝗈𝗌𝗈 𝖾́ 𝗉𝖾𝗋𝖽𝖾𝗋 𝖺 𝖼𝗈𝗇𝗌𝖼𝗂𝖾̂𝗇𝖼𝗂𝖺 𝖽𝖾 𝗊𝗎𝖾 𝗌𝖾 𝖾𝗌𝗍𝖺́ 𝖺 𝗃𝗈𝗀𝖺𝗋. 𝖰𝗎𝖺𝗇𝖽𝗈 𝗈 “𝖾́ 𝗌𝗈́ 𝗎𝗆𝖺 𝖻𝗋𝗂𝗇𝖼𝖺𝖽𝖾𝗂𝗋𝖺” 𝗌𝖾 𝗍𝗈𝗋𝗇𝖺 𝖽𝖾𝗌𝖼𝗎𝗅𝗉𝖺 𝗉𝖺𝗋𝖺 𝖺 𝖼𝗋𝗎𝖾𝗅𝖽𝖺𝖽𝖾, 𝗈 𝗃𝗈𝗀𝗈 𝖽𝖾𝗂𝗑𝖺 𝖽𝖾 𝗌𝖾𝗋 𝗎𝗆 𝖾𝗌𝗉𝖺𝖼̧𝗈 𝖽𝖾 𝗅𝗂𝖻𝖾𝗋𝖽𝖺𝖽𝖾 𝖾 𝖼𝗈𝗇𝗏𝖾𝗋𝗍𝖾-𝗌𝖾 𝖾𝗆 𝗅𝗂𝗇𝗀𝗎𝖺𝗀𝖾𝗆 𝖽𝖾 𝖾𝗑𝖼𝗅𝗎𝗌𝖺̃𝗈.
𝖯𝖺̂𝗇𝗂𝖼𝗈𝗌 𝗆𝗈𝗋𝖺𝗂𝗌 𝖾 𝗆𝖾𝖽𝗈 𝖽𝗈 𝗃𝗈𝗀𝗈
𝖠 𝗁𝗂𝗌𝗍𝗈́𝗋𝗂𝖺 𝖽𝗈𝗌 𝗃𝗈𝗀𝗈𝗌 𝖾𝗌𝗍𝖺́ 𝖼𝖾𝗋𝖼𝖺𝖽𝖺 𝖽𝖾 𝖽𝖾𝗌𝖼𝗈𝗇𝖿𝗂𝖺𝗇𝖼̧𝖺. 𝖣𝖾𝗌𝖽𝖾 𝗌𝖾𝗆𝗉𝗋𝖾 𝗊𝗎𝖾 𝖼𝖺𝖽𝖺 𝗇𝗈𝗏𝖺 𝖿𝗈𝗋𝗆𝖺 𝖽𝖾 𝖾𝗇𝗍𝗋𝖾𝗍𝖾𝗇𝗂𝗆𝖾𝗇𝗍𝗈 𝖾́ 𝖺𝖼𝗎𝗌𝖺𝖽𝖺 𝖽𝖾 𝖼𝗈𝗋𝗋𝗈𝗆𝗉𝖾𝗋 𝖺 𝗃𝗎𝗏𝖾𝗇𝗍𝗎𝖽𝖾. 𝖯𝗈𝗄𝖾́𝗆𝗈𝗇 𝖿𝗈𝗂 𝖺𝖼𝗎𝗌𝖺𝖽𝗈 𝗉𝗋𝗈𝗆𝗈𝗏𝖾𝗋 𝗈 𝗌𝖺𝗍𝖺𝗇𝗂𝗌𝗆𝗈, 𝖣𝗎𝗇𝗀𝖾𝗈𝗇𝗌 & 𝖣𝗋𝖺𝗀𝗈𝗇𝗌 𝖽𝖾 𝗂𝗇𝖼𝗂𝗍𝖺𝗋 𝖺𝗈 𝗌𝗎𝗂𝖼ı́𝖽𝗂𝗈, 𝖬𝖺𝗋𝗂𝗅𝗒𝗇 𝖬𝖺𝗇𝗌𝗈𝗇 𝖽𝖾 𝗂𝗇𝗌𝗉𝗂𝗋𝖺𝗋 𝗆𝖺𝗌𝗌𝖺𝖼𝗋𝖾𝗌 𝖾𝗌𝖼𝗈𝗅𝖺𝗋𝖾𝗌. 𝖠𝗇𝗍𝖾𝗌 𝖽𝗂𝗌𝗌𝗈, 𝗈 𝗉𝗋𝗈́𝗉𝗋𝗂𝗈 𝗋𝗈𝖼𝗄’𝗇’𝗋𝗈𝗅𝗅 𝖾 𝗈𝗌 𝗅𝗂𝗏𝗋𝗈𝗌 𝖽𝖾 𝖻𝖺𝗇𝖽𝖺 𝖽𝖾𝗌𝖾𝗇𝗁𝖺𝖽𝖺 𝖿𝗈𝗋𝖺𝗆 𝖺𝖼𝗎𝗌𝖺𝖽𝗈𝗌 𝖽𝖾 𝗂𝗇𝖼𝗂𝗍𝖺𝗋 𝖺̀ 𝗏𝗂𝗈𝗅𝖾̂𝗇𝖼𝗂𝖺 𝗃𝗎𝗏𝖾𝗇𝗂𝗅, 𝗀𝖾𝗋𝖺𝗇𝖽𝗈 𝗎𝗆𝖺 𝗏𝖾𝗋𝖽𝖺𝖽𝖾𝗂𝗋𝖺 𝖼𝖺𝖼̧𝖺 𝖺̀𝗌 𝖻𝗋𝗎𝗑𝖺𝗌. 𝖠 𝖼𝖺𝖽𝖺 𝗀𝖾𝗋𝖺𝖼̧𝖺̃𝗈 𝗋𝖾𝗉𝖾𝗍𝖾-𝗌𝖾 𝗈 𝗆𝖾𝗌𝗆𝗈 𝗆𝖾𝖽𝗈: 𝗈 𝖽𝖾 𝗊𝗎𝖾 𝖺 𝗂𝗆𝖺𝗀𝗂𝗇𝖺𝖼̧𝖺̃𝗈 𝖾𝗌𝖼𝖺𝗉𝖾 𝖺𝗈 𝖼𝗈𝗇𝗍𝗋𝗈𝗅𝗈 𝖽𝗈𝗌 𝖺𝖽𝗎𝗅𝗍𝗈𝗌.
𝖬𝖺𝗌 𝗈𝗌 𝗃𝗈𝗀𝗈𝗌 𝗇𝖺̃𝗈 𝖾𝗌𝗍𝖺̃𝗈 𝗇𝖺 𝗈𝗋𝗂𝗀𝖾𝗆 𝖽𝖺 𝗏𝗂𝗈𝗅𝖾̂𝗇𝖼𝗂𝖺. 𝖲𝖾𝗋𝗏𝖾𝗆 𝖺𝗇𝗍𝖾𝗌 𝖼𝗈𝗆𝗈 𝗏𝖺́𝗅𝗏𝗎𝗅𝖺 𝖽𝖾 𝖾𝗌𝖼𝖺𝗉𝖾 𝖽𝖾 𝖾𝗆𝗈𝖼̧𝗈̃𝖾𝗌, 𝖼𝗈𝗆𝗈 𝗈 𝗆𝖾𝖽𝗈 𝖾 𝖺 𝖿𝗋𝗎𝗌𝗍𝗋𝖺𝖼̧𝖺̃𝗈, 𝖾 𝖺𝗅𝗂𝗆𝖾𝗇𝗍𝖺𝗆 𝗈 𝖽𝖾𝗌𝖾𝗃𝗈 𝖽𝖾 𝗋𝖾𝖼𝗈𝗇𝗁𝖾𝖼𝗂𝗆𝖾𝗇𝗍𝗈 𝖾 𝖺 𝗉𝗋𝗈𝖼𝗎𝗋𝖺 𝖽𝖾 𝗎𝗆 𝗆𝗎𝗇𝖽𝗈 𝗂𝗆𝖺𝗀𝗂𝗇𝖺𝖽𝗈 𝗆𝖾𝗅𝗁𝗈𝗋 𝖽𝗈 𝗊𝗎𝖾 𝗈 𝗋𝖾𝖺𝗅. 𝖮𝗌 𝗃𝗈𝗀𝗈𝗌 𝗌𝖺̃𝗈 𝗍𝖺𝗆𝖻𝖾́𝗆 𝖾𝗌𝗉𝖾𝗅𝗁𝗈𝗌 𝗊𝗎𝖾 𝗉𝗈𝖽𝖾𝗆 𝖺𝗆𝗉𝗅𝗂𝖿𝗂𝖼𝖺𝗋 𝖺𝗌 𝗍𝖾𝗇𝗌𝗈̃𝖾𝗌 𝖽𝗈 𝗌𝖾𝗎 𝗍𝖾𝗆𝗉𝗈. 𝖮 𝗉𝖾𝗋𝗂𝗀𝗈 𝗇𝖺̃𝗈 𝖾𝗌𝗍𝖺́ 𝗇𝗈 𝗃𝗈𝗀𝗈 𝖾𝗆 𝗌𝗂, 𝗆𝖺𝗌 𝗇𝖺𝗊𝗎𝗂𝗅𝗈 𝗊𝗎𝖾 𝖺 𝗌𝗈𝖼𝗂𝖾𝖽𝖺𝖽𝖾 𝖽𝖾𝗉𝗈𝗌𝗂𝗍𝖺 𝗇𝖾𝗅𝖾.
𝖱𝗈𝖻𝗅𝗈𝗑: 𝗈 𝗃𝗈𝗀𝗈 𝖼𝗈𝗆𝗈 𝖾𝗌𝗉𝖾𝗅𝗁𝗈 𝖽𝗈 𝗆𝗎𝗇𝖽𝗈
𝖭𝗈 𝖾𝗇𝗍𝖺𝗇𝗍𝗈, 𝖺 𝖼𝗎𝗅𝗍𝗎𝗋𝖺 𝖽𝗈𝗌 𝗃𝗈𝗀𝗈𝗌 𝗇𝗎𝗇𝖼𝖺 𝖿𝗈𝗂 𝖺𝗉𝖾𝗇𝖺𝗌 𝗎𝗆𝖺 𝗋𝖾𝗉𝖾𝗍𝗂𝖼̧𝖺̃𝗈 𝖽𝖺𝗌 𝗇𝖺𝗋𝗋𝖺𝗍𝗂𝗏𝖺𝗌 𝗁𝖾𝗀𝖾𝗆𝗈́𝗇𝗂𝖼𝖺𝗌. 𝖭𝗈𝗌 𝗎́𝗅𝗍𝗂𝗆𝗈𝗌 𝖺𝗇𝗈𝗌, 𝖾𝗆𝖾𝗋𝗀𝗂𝗋𝖺𝗆 𝗉𝗅𝖺𝗍𝖺𝖿𝗈𝗋𝗆𝖺𝗌 𝗊𝗎𝖾 𝗍𝗋𝖺𝗇𝗌𝖿𝗈𝗋𝗆𝖺𝗆 𝗈 𝗉𝗋𝗈́𝗉𝗋𝗂𝗈 𝖺𝗍𝗈 𝖽𝖾 𝗃𝗈𝗀𝖺𝗋 𝗇𝗎𝗆𝖺 𝖾𝗑𝗉𝖾𝗋𝗂𝖾̂𝗇𝖼𝗂𝖺 𝗌𝗈𝖼𝗂𝖺𝗅 𝖺𝖻𝖾𝗋𝗍𝖺, 𝗈𝗇𝖽𝖾 𝖺 𝖼𝗋𝗂𝖺𝖼̧𝖺̃𝗈 𝖾 𝖺 𝖼𝗈𝗇𝗏𝗂𝗏𝖾̂𝗇𝖼𝗂𝖺 𝗌𝗎𝖻𝗌𝗍𝗂𝗍𝗎𝖾𝗆 𝖺 𝗉𝗎𝗋𝖺 𝖼𝗈𝗆𝗉𝖾𝗍𝗂𝖼̧𝖺̃𝗈. 𝖱𝗈𝖻𝗅𝗈𝗑 𝖾́ 𝗍𝖺𝗅𝗏𝖾𝗓 𝗎𝗆 𝖽𝗈𝗌 𝖾𝗑𝖾𝗆𝗉𝗅𝗈𝗌 𝗆𝖺𝗂𝗌 𝗉𝗈𝗉𝗎𝗅𝖺𝗋𝖾𝗌, 𝗉𝖺𝗋𝗍𝗂𝖼𝗎𝗅𝖺𝗋𝗆𝖾𝗇𝗍𝖾 𝖾𝗇𝗍𝗋𝖾 𝖼𝗋𝗂𝖺𝗇𝖼̧𝖺𝗌 𝖾 𝗉𝗋𝖾́-𝖺𝖽𝗈𝗅𝖾𝗌𝖼𝖾𝗇𝗍𝖾𝗌.
𝖠𝗈 𝖼𝗈𝗇𝗍𝗋𝖺́𝗋𝗂𝗈 𝖽𝗈𝗌 𝗃𝗈𝗀𝗈𝗌 𝗍𝗋𝖺𝖽𝗂𝖼𝗂𝗈𝗇𝖺𝗂𝗌, 𝗈 𝖱𝗈𝖻𝗅𝗈𝗑 𝗇𝖺̃𝗈 𝗍𝖾𝗆 𝗎𝗆𝖺 𝗇𝖺𝗋𝗋𝖺𝗍𝗂𝗏𝖺 𝖿𝗂𝗑𝖺, 𝗇𝖾𝗆 𝗈𝖻𝗃𝖾𝗍𝗂𝗏𝗈𝗌 𝗉𝗋𝖾𝖽𝖾𝖿𝗂𝗇𝗂𝖽𝗈𝗌. 𝖤́ 𝗎𝗆𝖺 𝖼𝗈𝗇𝗌𝗍𝖾𝗅𝖺𝖼̧𝖺̃𝗈 𝖽𝖾 𝗆𝗎𝗇𝖽𝗈𝗌 𝖽𝗂𝗏𝖾𝗋𝗌𝗈𝗌 𝖾𝗆 𝖼𝗈𝗇𝗌𝗍𝖺𝗇𝗍𝖾 𝗆𝗎𝗍𝖺𝖼̧𝖺̃𝗈, 𝖼𝗈𝗇𝗌𝗍𝗋𝗎ı́𝖽𝗈𝗌 𝗉𝗈𝗋 𝗆𝗂𝗅𝗁𝗈̃𝖾𝗌 𝖽𝖾 𝗎𝗍𝗂𝗅𝗂𝗓𝖺𝖽𝗈𝗋𝖾𝗌 𝗊𝗎𝖾 𝖼𝗋𝗂𝖺𝗆 𝗈𝗌 𝗌𝖾𝗎𝗌 𝗉𝗋𝗈́𝗉𝗋𝗂𝗈𝗌 𝗃𝗈𝗀𝗈𝗌, 𝖾𝗌𝗉𝖺𝖼̧𝗈𝗌 𝖾 𝗉𝖾𝗋𝗌𝗈𝗇𝖺𝗀𝖾𝗇𝗌. 𝖤𝗌𝗌𝖺 𝖺𝖻𝖾𝗋𝗍𝗎𝗋𝖺 𝗋𝖺𝖽𝗂𝖼𝖺𝗅 𝖿𝖺𝗓 𝖽𝗈 𝖱𝗈𝖻𝗅𝗈𝗑 𝗎𝗆 𝗍𝖾𝗋𝗋𝗂𝗍𝗈́𝗋𝗂𝗈 𝖼𝗈𝗇𝗍𝗋𝖺𝖽𝗂𝗍𝗈́𝗋𝗂𝗈: 𝗇𝖾𝗅𝖾 𝖼𝗈𝖾𝗑𝗂𝗌𝗍𝖾𝗆 𝖺 𝗆𝗂𝗌𝗈𝗀𝗂𝗇𝗂𝖺 𝖾 𝗈 𝖼𝗎𝗅𝗍𝗈 𝗂𝗇𝖼𝖾𝗅, 𝗎𝗇𝗂𝗏𝖾𝗋𝗌𝗈𝗌 𝗈𝗇𝖽𝖾 𝖺𝗌 𝗃𝗈𝗀𝖺𝖽𝗈𝗋𝖺𝗌 𝗌𝖺̃𝗈 𝗋𝗂𝖽𝗂𝖼𝗎𝗅𝖺𝗋𝗂𝗓𝖺𝖽𝖺𝗌 𝖾/𝗈𝗎 𝖾𝗑𝖼𝗅𝗎ı́𝖽𝖺𝗌, 𝖼𝗈𝗆 𝗋𝗂𝗍𝗎𝖺𝗂𝗌 𝖽𝖾 𝗌𝗈𝗅𝗂𝖽𝖺𝗋𝗂𝖾𝖽𝖺𝖽𝖾 𝖾 𝖽𝖾 𝗂𝗆𝖺𝗀𝗂𝗇𝖺𝖼̧𝖺̃𝗈 𝗉𝗈𝗅ı́𝗍𝗂𝖼𝖺.
𝖭𝗈𝗌 𝗎́𝗅𝗍𝗂𝗆𝗈𝗌 𝖺𝗇𝗈𝗌, 𝖺𝗌𝗌𝗂𝗌𝗍𝗂𝗎-𝗌𝖾 𝗇𝖺 𝗉𝗅𝖺𝗍𝖺𝖿𝗈𝗋𝗆𝖺 𝖺 𝗆𝗂𝗌𝗌𝖺𝗌 𝗏𝗂𝗋𝗍𝗎𝖺𝗂𝗌, 𝗏𝗂𝗀ı́𝗅𝗂𝖺𝗌 𝗉𝖾𝗅𝖺 𝗉𝖺𝗓, 𝗆𝖺𝗇𝗂𝖿𝖾𝗌𝗍𝖺𝖼̧𝗈̃𝖾𝗌 𝗉𝗋𝗈́-𝖯𝖺𝗅𝖾𝗌𝗍𝗂𝗇𝖺 𝖾 𝖺𝗍𝖾́ 𝖿𝗎𝗇𝖾𝗋𝖺𝗂𝗌 𝖼𝗈𝗅𝖾𝗍𝗂𝗏𝗈𝗌 𝖽𝖾 𝗏ı́𝗍𝗂𝗆𝖺𝗌 𝖽𝖾 𝖼𝗈𝗇𝖿𝗅𝗂𝗍𝗈𝗌 𝗋𝖾𝖺𝗂𝗌. 𝖩𝗈𝗏𝖾𝗇𝗌 𝗎𝗍𝗂𝗅𝗂𝗓𝖺𝖽𝗈𝗋𝖾𝗌 𝗍𝗋𝖺𝗇𝗌𝖿𝗈𝗋𝗆𝖺𝗆 𝗈 𝗃𝗈𝗀𝗈 𝗇𝗎𝗆 𝖾𝗌𝗉𝖺𝖼̧𝗈 𝖽𝖾 𝖾𝗑𝗉𝗋𝖾𝗌𝗌𝖺̃𝗈 𝗌𝗂𝗆𝖻𝗈́𝗅𝗂𝖼𝖺, 𝖽𝖾 𝗉𝗋𝗈𝗍𝖾𝗌𝗍𝗈 𝖾 𝖽𝖾 𝖼𝗎𝗂𝖽𝖺𝖽𝗈. 𝖤𝗆 𝖼𝗈𝗇𝗍𝗋𝖺𝗉𝖺𝗋𝗍𝗂𝖽𝖺, 𝗈𝗎𝗍𝗋𝗈𝗌 𝖼𝗋𝗂𝖺𝗆 𝖺𝗋𝖾𝗇𝖺𝗌 𝖽𝖾 𝗁𝗎𝗆𝗂𝗅𝗁𝖺𝖼̧𝖺̃𝗈, 𝗌𝗂𝗆𝗎𝗅𝖺𝗆 𝗏𝗂𝗈𝗅𝖾̂𝗇𝖼𝗂𝖺 𝗌𝖾𝗑𝗎𝖺𝗅 𝖾 𝗆𝗎𝗇𝖽𝗈𝗌 𝖽𝗂𝗌𝗍𝗈𝗋𝖼𝗂𝖽𝗈𝗌 𝗈𝗇𝖽𝖾 𝗈 “𝗆𝖺𝗌𝖼𝗎𝗅𝗂𝗇𝗈” 𝖾́ 𝗌𝗂𝗇𝗈́𝗇𝗂𝗆𝗈 𝖽𝖾 𝖽𝗈𝗆𝗂𝗇𝖺𝖼̧𝖺̃𝗈 𝖺𝖻𝗌𝗈𝗅𝗎𝗍𝖺.
𝖮 𝖱𝗈𝖻𝗅𝗈𝗑 𝖾́ 𝗎𝗆 𝖾𝗌𝗉𝖾𝗅𝗁𝗈 𝖽𝖺 𝖺𝗆𝖻𝗂𝗀𝗎𝗂𝖽𝖺𝖽𝖾 𝖽𝖺 𝖼𝗎𝗅𝗍𝗎𝗋𝖺 𝖽𝗂𝗀𝗂𝗍𝖺𝗅: 𝖾́, 𝗌𝗂𝗆𝗎𝗅𝗍𝖺𝗇𝖾𝖺𝗆𝖾𝗇𝗍𝖾, 𝗎𝗆𝖺 𝗆𝖺́𝗊𝗎𝗂𝗇𝖺 𝖽𝖾 𝗋𝖺𝖽𝗂𝖼𝖺𝗅𝗂𝗓𝖺𝖼̧𝖺̃𝗈 𝗆𝖺𝖼𝗁𝗂𝗌𝗍𝖺 𝖾 𝖽𝖾 𝖾𝗆𝖺𝗇𝖼𝗂𝗉𝖺𝖼̧𝖺̃𝗈 𝖾 𝖼𝗈𝗆𝗎𝗇𝗁𝖺̃𝗈. 𝖠 𝗌𝗎𝖺 𝖾𝗌𝗍𝗋𝗎𝗍𝗎𝗋𝖺 𝖺𝖻𝖾𝗋𝗍𝖺 𝗉𝖾𝗋𝗆𝗂𝗍𝖾 𝗊𝗎𝖾 𝖺 𝗆𝖾𝗌𝗆𝖺 𝖿𝖾𝗋𝗋𝖺𝗆𝖾𝗇𝗍𝖺 𝗌𝖾𝗃𝖺 𝗎𝗌𝖺𝖽𝖺 𝗉𝖺𝗋𝖺 𝗋𝖾𝗉𝗋𝗈𝖽𝗎𝗓𝗂𝗋 𝗈 𝗈́𝖽𝗂𝗈 𝗈𝗎 𝗉𝖺𝗋𝖺 𝖾𝗇𝗌𝖺𝗂𝖺𝗋 𝗇𝗈𝗏𝖺𝗌 𝖿𝗈𝗋𝗆𝖺𝗌 𝖽𝖾 𝗌𝗈𝗅𝗂𝖽𝖺𝗋𝗂𝖾𝖽𝖺𝖽𝖾. 𝖭𝗈 𝖿𝗎𝗇𝖽𝗈, 𝗈 𝗊𝗎𝖾 𝖾𝗌𝗍𝖺́ 𝖾𝗆 𝖼𝖺𝗎𝗌𝖺 𝖾́ 𝗈 𝗆𝗈𝖽𝗈 𝖼𝗈𝗆𝗈 𝖺𝗌 𝖼𝗈𝗆𝗎𝗇𝗂𝖽𝖺𝖽𝖾𝗌 𝗌𝖾 𝖺𝗉𝗋𝗈𝗉𝗋𝗂𝖺𝗆 𝖽𝗈 𝖾𝗌𝗉𝖺𝖼̧𝗈 𝖾 𝗈 𝗍𝗂𝗉𝗈 𝖽𝖾 𝗆𝖺𝗌𝖼𝗎𝗅𝗂𝗇𝗂𝖽𝖺𝖽𝖾 𝗊𝗎𝖾 𝖺𝗅𝗂 𝗌𝖾 𝗉𝗈𝖽𝖾 𝖺𝗉𝗋𝖾𝗇𝖽𝖾𝗋.
𝖩𝗈𝗀𝗈𝗌 𝗌𝖾𝗆 𝗏𝗂𝗈𝗅𝖾̂𝗇𝖼𝗂𝖺: 𝗈𝗎𝗍𝗋𝗈𝗌 𝗆𝗈𝖽𝗈𝗌 𝖽𝖾 𝗌𝖾𝗋 𝖾 𝗃𝗈𝗀𝖺𝗋
𝖠𝗉𝖾𝗌𝖺𝗋 𝖽𝖺 𝗁𝖾𝗀𝖾𝗆𝗈𝗇𝗂𝖺 𝖽𝗈𝗌 𝗍ı́𝗍𝗎𝗅𝗈𝗌 𝖻𝖺𝗌𝖾𝖺𝖽𝗈𝗌 𝗇𝖺 𝖼𝗈𝗇𝗊𝗎𝗂𝗌𝗍𝖺 𝖾 𝗇𝗈 𝖼𝗈𝗆𝖻𝖺𝗍𝖾, 𝗁𝖺́ 𝗎𝗆𝖺 𝖼𝗋𝖾𝗌𝖼𝖾𝗇𝗍𝖾 𝖼𝗈𝗋𝗋𝖾𝗇𝗍𝖾 𝖽𝖾 𝗃𝗈𝗀𝗈𝗌 𝗊𝗎𝖾 𝗉𝗋𝗈𝗉𝗈̃𝖾𝗆 𝖿𝗈𝗋𝗆𝖺𝗌 𝖺𝗅𝗍𝖾𝗋𝗇𝖺𝗍𝗂𝗏𝖺𝗌 𝖽𝖾 𝗋𝖾𝗅𝖺𝖼̧𝖺̃𝗈, 𝖺𝖼̧𝖺̃𝗈 𝖾 𝖾𝗆𝗈𝖼̧𝖺̃𝗈. 𝖲𝖺̃𝗈 𝖾𝗑𝗉𝖾𝗋𝗂𝖾̂𝗇𝖼𝗂𝖺𝗌 𝗊𝗎𝖾 𝗋𝖾𝖼𝗎𝗌𝖺𝗆 𝗈 𝗉𝖺𝗋𝖺𝖽𝗂𝗀𝗆𝖺 𝖽𝖺 𝖿𝗈𝗋𝖼̧𝖺 𝖾 𝖾𝗑𝗉𝗅𝗈𝗋𝖺𝗆 𝗈 𝗃𝗈𝗀𝗈 𝖼𝗈𝗆𝗈 𝖾𝗌𝗉𝖺𝖼̧𝗈 𝖽𝖾 𝖼𝗎𝗂𝖽𝖺𝖽𝗈, 𝖾𝗌𝖼𝗎𝗍𝖺 𝖾 𝖼𝗋𝗂𝖺𝖼̧𝖺̃𝗈 𝖼𝗈𝗇𝗃𝗎𝗇𝗍𝖺.
𝖤𝗆 𝖩𝗈𝗎𝗋𝗇𝖾𝗒, 𝗈 𝗃𝗈𝗀𝖺𝖽𝗈𝗋 𝖺𝗍𝗋𝖺𝗏𝖾𝗌𝗌𝖺 𝗎𝗆 𝖽𝖾𝗌𝖾𝗋𝗍𝗈 𝖾𝗆 𝗌𝗂𝗅𝖾̂𝗇𝖼𝗂𝗈, 𝖾𝗇𝖼𝗈𝗇𝗍𝗋𝖺𝗇𝖽𝗈 𝗈𝗎𝗍𝗋𝗈𝗌 𝗏𝗂𝖺𝗃𝖺𝗇𝗍𝖾𝗌 𝖺𝗇𝗈́𝗇𝗂𝗆𝗈𝗌 𝖼𝗈𝗆 𝗊𝗎𝖾𝗆 𝗌𝗈́ 𝗌𝖾 𝗉𝗈𝖽𝖾 𝖼𝗈𝗆𝗎𝗇𝗂𝖼𝖺𝗋 𝖺𝗍𝗋𝖺𝗏𝖾́𝗌 𝖽𝖾 𝗀𝖾𝗌𝗍𝗈𝗌 𝖾 𝗌𝗈𝗇𝗌. 𝖭𝖺̃𝗈 𝗁𝖺́ 𝖼𝗈𝗆𝗉𝖾𝗍𝗂𝖼̧𝖺̃𝗈, 𝗇𝖾𝗆 𝗏𝗂𝗍𝗈́𝗋𝗂𝖺, 𝖺𝗉𝖾𝗇𝖺𝗌 𝗉𝗋𝖾𝗌𝖾𝗇𝖼̧𝖺 𝖾 𝖾𝗆𝗉𝖺𝗍𝗂𝖺. 𝖫𝗂𝖿𝖾 𝗂𝗌 𝖲𝗍𝗋𝖺𝗇𝗀𝖾 𝖺𝗉𝗋𝖾𝗌𝖾𝗇𝗍𝖺 𝖽𝗎𝖺𝗌 𝖺𝖽𝗈𝗅𝖾𝗌𝖼𝖾𝗇𝗍𝖾𝗌 𝗊𝗎𝖾 𝗏𝗂𝖺𝗃𝖺𝗆 𝗇𝗈 𝗍𝖾𝗆𝗉𝗈 𝗉𝖺𝗋𝖺 𝗅𝗂𝖽𝖺𝗋 𝖼𝗈𝗆 𝗈 𝗍𝗋𝖺𝗎𝗆𝖺. 𝖤𝗆 𝖳𝗁𝖾 𝖫𝖺𝗌𝗍 𝗈𝖿 𝖴𝗌 𝖯𝖺𝗋𝗍 𝖨𝖨, 𝗈 𝗃𝗈𝗀𝖺𝖽𝗈𝗋 𝗍𝖾𝗆 𝖽𝖾 𝗁𝖺𝖻𝗂𝗍𝖺𝗋 𝗍𝖺𝗇𝗍𝗈 𝗈 𝗉𝖺𝗉𝖾𝗅 𝖽𝖺 𝖺𝗆𝗂𝗀𝖺 𝖽𝖺 𝗏ı́𝗍𝗂𝗆𝖺 𝗊𝗎𝖾 𝗉𝗋𝗈𝖼𝗎𝗋𝖺 𝗏𝗂𝗇𝗀𝖺𝗇𝖼̧𝖺, 𝗊𝗎𝖺𝗇𝗍𝗈 𝗈 𝖽𝖺 𝖺𝗌𝗌𝖺𝗌𝗌𝗂𝗇𝖺, 𝗉𝗋𝗈𝖻𝗅𝖾𝗆𝖺𝗍𝗂𝗓𝖺𝗇𝖽𝗈 𝖺 𝖼𝗈𝗇𝖼𝖾𝖼̧𝖺̃𝗈 𝖽𝖾 𝗃𝗎𝗌𝗍𝗂𝖼̧𝖺, 𝗇𝗈𝗆𝖾𝖺𝖽𝖺𝗆𝖾𝗇𝗍𝖾 𝖽𝗈 𝗉𝗎𝗇𝗂𝗍𝗂𝗏𝗂𝗌𝗆𝗈. 𝖤𝗌𝗍𝖾𝗌 𝗍ı́𝗍𝗎𝗅𝗈𝗌 𝖽𝖾𝗌𝖺𝖿𝗂𝖺𝗆 𝖺 𝗋𝖾𝗅𝖺𝖼̧𝖺̃𝗈 𝖾𝗇𝗍𝗋𝖾 𝖺𝖼̧𝖺̃𝗈 𝖾 𝗏𝗂𝗋𝗂𝗅𝗂𝖽𝖺𝖽𝖾. 𝖲𝖺̃𝗈 𝖾𝗑𝖾𝗋𝖼ı́𝖼𝗂𝗈𝗌 𝖽𝖾 𝗋𝖾𝖾𝖽𝗎𝖼𝖺𝖼̧𝖺̃𝗈 𝖾𝗆𝗈𝖼𝗂𝗈𝗇𝖺𝗅 𝖾 𝖽𝖾 𝖽𝖾𝗌𝖼𝗈𝗇𝗌𝗍𝗋𝗎𝖼̧𝖺̃𝗈. 𝖩𝗈𝗀𝖺𝗋 𝖾́ 𝖺𝗌𝗌𝗂𝗆 𝗍𝖺𝗆𝖻𝖾́𝗆 𝖼𝗈𝗇𝖿𝗂𝗀𝗎𝗋𝖺𝖽𝗈 𝖼𝗈𝗆𝗈 𝗎𝗆 𝖺𝗍𝗈 𝖽𝖾 𝖾𝗌𝖼𝗎𝗍𝖺 𝖾 𝖽𝖾 𝗏𝗎𝗅𝗇𝖾𝗋𝖺𝖻𝗂𝗅𝗂𝖽𝖺𝖽𝖾.
𝖠 𝖼𝗎𝗅𝗍𝗎𝗋𝖺 𝗀𝖺𝗆𝖾𝗋, 𝗏𝗂𝗌𝗍𝖺 𝖽𝖾 𝗅𝗈𝗇𝗀𝖾, 𝗉𝖺𝗋𝖾𝖼𝖾 𝗎𝗆 𝗍𝖾𝗋𝗋𝗂𝗍𝗈́𝗋𝗂𝗈 𝖼𝗈𝖾𝗌𝗈. 𝖬𝖺𝗌, 𝗉𝗈𝗋 𝖻𝖺𝗂𝗑𝗈 𝖽𝖺𝗌 𝗀𝗋𝖺𝗇𝖽𝖾𝗌 𝗇𝖺𝗋𝗋𝖺𝗍𝗂𝗏𝖺𝗌, 𝗁𝖺́ 𝗎𝗆𝖺 𝗂𝗇𝖿𝗂𝗇𝗂𝖽𝖺𝖽𝖾 𝖽𝖾 𝗆𝗂𝖼𝗋𝗈𝖼𝗈𝗆𝗎𝗇𝗂𝖽𝖺𝖽𝖾𝗌 𝗊𝗎𝖾 𝗋𝖾𝖼𝗈𝗇𝖿𝗂𝗀𝗎𝗋𝖺𝗆 𝗈 𝗊𝗎𝖾 𝗌𝗂𝗀𝗇𝗂𝖿𝗂𝖼𝖺 𝗃𝗈𝗀𝖺𝗋. 𝖭𝗈𝗌 𝖾𝗌𝗉𝖺𝖼̧𝗈𝗌 𝗆𝖺𝗂𝗌 𝗌𝗈𝗆𝖻𝗋𝗂𝗈𝗌, 𝖼𝗈𝗆𝗈 𝗈𝗌 𝖿𝗈́𝗋𝗎𝗇𝗌 𝖽𝖾 𝗂𝗇𝖼𝖾𝗅𝗌 𝖾 𝗈𝗌 𝖼𝖺𝗇𝖺𝗂𝗌 𝖽𝖾 𝗈́𝖽𝗂𝗈, 𝗈 𝗃𝗈𝗀𝗈 𝖾́ 𝗂𝗇𝗌𝗍𝗋𝗎𝗆𝖾𝗇𝗍𝖺𝗅𝗂𝗓𝖺𝖽𝗈 𝖼𝗈𝗆𝗈 𝗆𝖾𝗍𝖺́𝖿𝗈𝗋𝖺 𝖽𝖺 𝗅𝗎𝗍𝖺 𝗉𝖾𝗋𝖽𝗂𝖽𝖺 𝖼𝗈𝗇𝗍𝗋𝖺 𝖺 𝖾𝗆𝖺𝗇𝖼𝗂𝗉𝖺𝖼̧𝖺̃𝗈 𝖿𝖾𝗆𝗂𝗇𝗂𝗇𝖺. 𝖠 𝖿𝗋𝗎𝗌𝗍𝗋𝖺𝖼̧𝖺̃𝗈 𝖾́ 𝗋𝖾𝗂𝗇𝗍𝖾𝗋𝗉𝗋𝖾𝗍𝖺𝖽𝖺 𝖼𝗈𝗆𝗈 𝖽𝖾𝗌𝗍𝗂𝗇𝗈 𝖻𝗂𝗈𝗅𝗈́𝗀𝗂𝖼𝗈; 𝖺 𝗌𝗈𝗅𝗂𝖽𝖺̃𝗈 𝖼𝗈𝗆𝗈 𝗉𝗋𝗈𝗏𝖺 𝖽𝖾 𝗌𝗎𝗉𝖾𝗋𝗂𝗈𝗋𝗂𝖽𝖺𝖽𝖾 𝗆𝗈𝗋𝖺𝗅. 𝖠 𝗅𝗂𝗇𝗀𝗎𝖺𝗀𝖾𝗆 𝖾́ 𝖺 𝗆𝖾𝗌𝗆𝖺 𝖽𝖺 𝗆𝖺𝗇𝗈𝗌𝖿𝖾𝗋𝖺: “𝖺𝗌 𝗆𝗎𝗅𝗁𝖾𝗋𝖾𝗌 𝗌𝖺̃𝗈 𝗁𝗂𝗉𝖾𝗋𝗀𝖺̂𝗆𝗂𝖼𝖺𝗌”, “𝗈𝗌 𝗁𝗈𝗆𝖾𝗇𝗌 𝗏𝖾𝗋𝖽𝖺𝖽𝖾𝗂𝗋𝗈𝗌 𝖾𝗌𝗍𝖺̃𝗈 𝖾𝗆 𝖾𝗑𝗍𝗂𝗇𝖼̧𝖺̃𝗈”. 𝖢𝖺𝖽𝖺 𝖽𝖾𝗋𝗋𝗈𝗍𝖺 𝗇𝗈 𝖺𝗆𝗈𝗋 𝖾́ 𝖾𝗑𝗉𝗅𝗂𝖼𝖺𝖽𝖺 𝖼𝗈𝗆𝗈 𝖿𝖺𝗅𝗁𝖺 𝖽𝗈 𝗌𝗂𝗌𝗍𝖾𝗆𝖺. 𝖧𝖺́ 𝗊𝗎𝖾𝗆 𝗎𝗌𝖾 𝗈𝗌 𝗃𝗈𝗀𝗈𝗌 𝗉𝖺𝗋𝖺 𝗉𝗋𝗈𝖼𝗎𝗋𝖺𝗋 𝗋𝖾𝖿𝗎́𝗀𝗂𝗈, 𝗈𝗎𝗍𝗋𝗈𝗌 𝗋𝖾𝗏𝗈𝗅𝗍𝖺. 𝖧𝖺́ 𝗊𝗎𝖾𝗆 𝗎𝗌𝖾 𝗈 𝗃𝗈𝗀𝗈 𝗉𝖺𝗋𝖺 𝖽𝗈𝗆𝗂𝗇𝖺𝗋 𝖾 𝗊𝗎𝖾𝗆 𝗈 𝗎𝗌𝖾 𝗉𝖺𝗋𝖺 𝖼𝗎𝗂𝖽𝖺𝗋.
"𝖦𝖺𝗆𝗂𝗇𝗀 𝖻𝗈𝗆" 𝖾 "𝗀𝖺𝗆𝗂𝗇𝗀 𝗆𝖺𝗎"? 𝖮 𝗁𝗈𝗋𝗂𝗓𝗈𝗇𝗍𝖾 𝗉𝗈𝗅ı́𝗍𝗂𝖼𝗈 𝖽𝗈𝗌 𝗏𝗂𝖽𝖾𝗈𝗃𝗈𝗀𝗈𝗌
𝖱𝖾𝖽𝗎𝗓𝗂𝗋 𝖺 𝖽𝗂𝗌𝖼𝗎𝗌𝗌𝖺̃𝗈 𝗌𝗈𝖻𝗋𝖾 𝗈𝗌 𝗏𝗂𝖽𝖾𝗈𝗃𝗈𝗀𝗈𝗌 𝖺 𝗎𝗆𝖺 𝗅𝗎𝗍𝖺 𝖾𝗇𝗍𝗋𝖾 𝗈 “𝗀𝖺𝗆𝗂𝗇𝗀 𝗆𝖺𝗎”, 𝗏𝗂𝗈𝗅𝖾𝗇𝗍𝗈, 𝖾 𝗈 “𝗀𝖺𝗆𝗂𝗇𝗀 𝖻𝗈𝗆”, 𝖽𝗈 𝖼𝗎𝗂𝖽𝖺𝖽𝗈 𝖾 𝖽𝖺 𝗏𝗎𝗅𝗇𝖾𝗋𝖺𝖻𝗂𝗅𝗂𝖽𝖺𝖽𝖾, 𝗌𝖾𝗋𝗂𝖺 𝗎𝗆 𝖾𝗋𝗋𝗈. 𝖢𝗈𝗆𝗈 𝗅𝖾𝗆𝖻𝗋𝖺𝗏𝖺 𝖩𝗈𝗁𝖺𝗇 𝖧𝗎𝗂𝗓𝗂𝗇𝗀𝖺 𝖾𝗆 𝖧𝗈𝗆𝗈 𝖫𝗎𝖽𝖾𝗇𝗌, 𝗈 𝗃𝗈𝗀𝗈 𝖾́ 𝗎𝗆 𝖾𝗌𝗉𝖺𝖼̧𝗈 𝗌𝖾𝗉𝖺𝗋𝖺𝖽𝗈 𝖽𝖺 𝗏𝗂𝖽𝖺, 𝗎𝗆 𝗍𝖾𝗋𝗋𝗂𝗍𝗈́𝗋𝗂𝗈 𝗌𝗂𝗆𝖻𝗈́𝗅𝗂𝖼𝗈 𝗈𝗇𝖽𝖾 𝗌𝖾 𝗉𝗈𝖽𝖾 𝖾𝗑𝗉𝖾𝗋𝗂𝗆𝖾𝗇𝗍𝖺𝗋, 𝗉𝗈𝗋 𝖾𝗑𝖾𝗆𝗉𝗅𝗈, 𝖺 𝗏𝗂𝗈𝗅𝖾̂𝗇𝖼𝗂𝖺 𝗌𝖾𝗆 𝖺 𝖼𝗈𝗆𝖾𝗍𝖾𝗋. 𝖠 𝗏𝗂𝗈𝗅𝖾̂𝗇𝖼𝗂𝖺 𝗇𝗈 𝗃𝗈𝗀𝗈 𝖾́ 𝗎𝗆𝖺 𝗅𝗂𝗇𝗀𝗎𝖺𝗀𝖾𝗆, 𝗇𝖺̃𝗈 𝗎𝗆𝖺 𝗂𝗇𝗌𝗍𝗋𝗎𝖼̧𝖺̃𝗈. 𝖳𝖺𝗅 𝖼𝗈𝗆𝗈 𝗇𝗈 𝖼𝗂𝗇𝖾𝗆𝖺 𝗈𝗎 𝗇𝗈 𝗍𝖾𝖺𝗍𝗋𝗈, 𝖾𝗌𝗍𝖺 𝗌𝖾𝗋𝗏𝖾 𝗉𝖺𝗋𝖺 𝗉𝖾𝗇𝗌𝖺𝗋 𝗌𝖾𝗇𝗍𝗂𝗆𝖾𝗇𝗍𝗈𝗌 𝖼𝗈𝗆𝗈 𝖺 𝗉𝖾𝗋𝖽𝖺, 𝖺 𝗉𝗎𝗅𝗌𝖺̃𝗈 𝖾 𝖺 𝖼𝗎𝗅𝗉𝖺 𝗌𝖾𝗆 𝗈𝗌 𝗍𝗈𝗋𝗇𝖺𝗋 𝗋𝖾𝖺𝗂𝗌. 𝖬𝗂𝗀𝗎𝖾𝗅 𝖲𝗂𝖼𝖺𝗋𝗍, 𝗂𝗇𝗏𝖾𝗌𝗍𝗂𝗀𝖺𝖽𝗈𝗋 𝖾 𝖺𝗎𝗍𝗈𝗋 𝖽𝖾 𝖠 𝖤́𝗍𝗂𝖼𝖺 𝗇𝗈𝗌 𝖩𝗈𝗀𝗈𝗌 𝖽𝖾 𝖢𝗈𝗆𝗉𝗎𝗍𝖺𝖽𝗈𝗋, 𝖺𝗆𝗉𝗅𝗂𝖺 𝖾𝗌𝗌𝖺 𝗏𝗂𝗌𝖺̃𝗈. 𝖯𝖺𝗋𝖺 𝖾𝗅𝖾, 𝗈 𝗃𝗈𝗀𝖺𝖽𝗈𝗋 𝗇𝖺̃𝗈 𝖾́ 𝖺𝗉𝖾𝗇𝖺𝗌 𝗁𝗈𝗆𝗈 𝗅𝗎𝖽𝖾𝗇𝗌, 𝗆𝖺𝗌 𝗍𝖺𝗆𝖻𝖾́𝗆 𝗁𝗈𝗆𝗈 𝗉𝗈𝗂𝖾𝗍𝗂𝖼𝗎𝗌, 𝗈𝗎 𝗌𝖾𝗃𝖺, 𝗎𝗆 𝖼𝗋𝗂𝖺𝖽𝗈𝗋 𝖾́𝗍𝗂𝖼𝗈 𝗊𝗎𝖾, 𝖺𝗈 𝗃𝗈𝗀𝖺𝗋, 𝖼𝗈𝗇𝗌𝗍𝗋𝗈́𝗂 𝗆𝗎𝗇𝖽𝗈𝗌 𝖾 𝗌𝖾 𝗍𝗈𝗋𝗇𝖺 𝗋𝖾𝗌𝗉𝗈𝗇𝗌𝖺́𝗏𝖾𝗅 𝗉𝗈𝗋 𝖾𝗅𝖾𝗌. 𝖩𝗈𝗀𝖺𝗋 𝖾́, 𝗉𝗈𝗋𝗍𝖺𝗇𝗍𝗈, 𝗎𝗆 𝖾𝗑𝖾𝗋𝖼ı́𝖼𝗂𝗈 𝖽𝖾 𝗋𝖾𝗌𝗉𝗈𝗇𝗌𝖺𝖻𝗂𝗅𝗂𝖽𝖺𝖽𝖾 𝗉𝗈𝖾́𝗍𝗂𝖼𝖺: 𝖼𝗎𝗂𝖽𝖺𝗋 𝖽𝗈 𝗆𝗎𝗇𝖽𝗈 𝗊𝗎𝖾 𝗌𝖾 𝖼𝗋𝗂𝖺, 𝖽𝖺𝗌 𝗋𝖾𝗀𝗋𝖺𝗌 𝗊𝗎𝖾 𝗈 𝗌𝗎𝗌𝗍𝖾𝗇𝗍𝖺𝗆 𝖾 𝖽𝖺𝗌 𝗋𝖾𝗅𝖺𝖼̧𝗈̃𝖾𝗌 𝗊𝗎𝖾 𝗈 𝖽𝖾𝖿𝗂𝗇𝖾𝗆.
𝖲𝗂𝖼𝖺𝗋𝗍 𝖺𝗉𝗈𝗇𝗍𝖺 𝖺 𝖾𝗆𝖾𝗋𝗀𝖾̂𝗇𝖼𝗂𝖺 𝖽𝖾 𝗍𝗋𝖾̂𝗌 𝖽𝖾𝗌𝖺𝖿𝗂𝗈𝗌 𝖾́𝗍𝗂𝖼𝗈𝗌 𝖼𝖾𝗇𝗍𝗋𝖺𝗂𝗌
𝖠 𝗉𝖺𝗋𝗍𝗂𝗋 𝖽𝖾𝗌𝗌𝖺 𝗉𝖾𝗋𝗌𝗉𝖾𝗍𝗂𝗏𝖺, 𝖲𝗂𝖼𝖺𝗋𝗍 𝖺𝗉𝗈𝗇𝗍𝖺 𝖺 𝖾𝗆𝖾𝗋𝗀𝖾̂𝗇𝖼𝗂𝖺 𝖽𝖾 𝗍𝗋𝖾̂𝗌 𝖽𝖾𝗌𝖺𝖿𝗂𝗈𝗌 𝖾́𝗍𝗂𝖼𝗈𝗌 𝖼𝖾𝗇𝗍𝗋𝖺𝗂𝗌. 𝖮 𝗉𝗋𝗂𝗆𝖾𝗂𝗋𝗈 𝖾́ 𝗊𝗎𝖾 𝗈𝗌 𝗃𝗈𝗀𝗈𝗌 𝗋𝖾𝖿𝗅𝖾𝗍𝖾𝗆 𝖾 𝗋𝖾𝗉𝗋𝗈𝖽𝗎𝗓𝖾𝗆 𝖺 𝖼𝗎𝗅𝗍𝗎𝗋𝖺 𝗊𝗎𝖾 𝗈𝗌 𝗉𝗋𝗈𝖽𝗎𝗓 𝖾, 𝖿𝖺𝗅𝖺𝗇𝖽𝗈 𝖽𝖾 𝗆𝖺𝗇𝗈𝗌𝖿𝖾𝗋𝖺, 𝗌𝖺̃𝗈 𝖾𝗆 𝖺𝗅𝗀𝗎𝗇𝗌 𝖼𝖺𝗌𝗈𝗌 𝖾𝗌𝗉𝖾𝗅𝗁𝗈 𝖽𝖾 𝗎𝗆𝖺 𝗈𝖻𝗌𝖾𝗌𝗌𝖺̃𝗈 𝖼𝗈𝗆 𝖺 𝗏𝗂𝗋𝗂𝗅𝗂𝖽𝖺𝖽𝖾 𝖾 𝖺 𝗌𝗎𝖻𝖺𝗅𝗍𝖾𝗋𝗇𝗂𝖽𝖺𝖽𝖾 𝖽𝖺𝗌 𝗆𝗎𝗅𝗁𝖾𝗋𝖾𝗌. 𝖮 𝗉𝗋𝗈𝖻𝗅𝖾𝗆𝖺 𝗇𝖺̃𝗈 𝖾́ 𝗊𝗎𝖾 𝗈𝗌 𝗃𝗈𝗀𝗈𝗌 𝗉𝗈𝗌𝗌𝖺𝗆 𝗉𝗈𝗋 𝗌𝗂 𝗀𝖾𝗋𝖺𝗋 𝗏𝗂𝗈𝗅𝖾̂𝗇𝖼𝗂𝖺, 𝗆𝖺𝗌 𝗊𝗎𝖾 𝗇𝖺𝗍𝗎𝗋𝖺𝗅𝗂𝗓𝖾𝗆 𝗈 𝖼𝗈𝗇𝖿𝗅𝗂𝗍𝗈 𝖼𝗈𝗆𝗈 𝗎́𝗇𝗂𝖼𝖺 𝖿𝗈𝗋𝗆𝖺 𝖽𝖾 𝗂𝖽𝖾𝗇𝗍𝗂𝖽𝖺𝖽𝖾 𝗆𝖺𝗌𝖼𝗎𝗅𝗂𝗇𝖺. 𝖢𝖺𝖻𝖾 𝖺𝗈 𝗃𝗈𝗀𝖺𝖽𝗈𝗋 𝖾́𝗍𝗂𝖼𝗈 𝗂𝗇𝗍𝖾𝗋𝗋𝗈𝗀𝖺𝗋 𝗈 𝗊𝗎𝖾 𝗌𝗂𝗆𝖻𝗈𝗅𝗂𝗓𝖺 𝖾𝗌𝗌𝖺 𝗏𝗂𝗈𝗅𝖾̂𝗇𝖼𝗂𝖺 𝖾 𝗂𝗆𝖺𝗀𝗂𝗇𝖺𝗋 𝗈𝗎𝗍𝗋𝖺𝗌 𝖿𝗈𝗋𝗆𝖺𝗌 𝖽𝖾 𝖼𝗈𝗇𝗏𝗂𝗏𝖾̂𝗇𝖼𝗂𝖺, 𝗈𝗎𝗍𝗋𝖺𝗌 𝗆𝖺𝗌𝖼𝗎𝗅𝗂𝗇𝗂𝖽𝖺𝖽𝖾𝗌 𝗉𝗈𝗌𝗌ı́𝗏𝖾𝗂𝗌. 𝖮 𝗌𝖾𝗀𝗎𝗇𝖽𝗈 𝖽𝖾𝗌𝖺𝖿𝗂𝗈 𝖾́ 𝖺 𝖾𝗑𝗉𝗈𝗌𝗂𝖼̧𝖺̃𝗈 𝗉𝗎́𝖻𝗅𝗂𝖼𝖺 𝖽𝗈 𝗃𝗈𝗀𝗈. 𝖭𝖺 𝖾𝗋𝖺 𝖽𝗈𝗌 𝗌𝗍𝗋𝖾𝖺𝗆𝗌 𝖾 𝖽𝖺𝗌 𝗅𝗂𝗏𝖾𝗌, 𝗃𝗈𝗀𝖺𝗋 𝗍𝗈𝗋𝗇𝗈𝗎-𝗌𝖾 𝗉𝖾𝗋𝖿𝗈𝗋𝗆𝖺𝗇𝖼𝖾. 𝖢𝖺𝖽𝖺 𝗀𝖾𝗌𝗍𝗈 𝖾́ 𝗉𝖺𝗋𝗍𝗂𝗅𝗁𝖺𝖽𝗈, 𝖺𝗆𝗉𝗅𝗂𝖿𝗂𝖼𝖺𝖽𝗈 𝖾 𝗂𝗇𝗍𝖾𝗋𝗉𝗋𝖾𝗍𝖺𝖽𝗈, 𝗆𝗎𝗂𝗍𝖺𝗌 𝗏𝖾𝗓𝖾𝗌, 𝖼𝗈𝗆𝗈 𝖾𝗌𝗉𝖾𝗍𝖺́𝖼𝗎𝗅𝗈 𝖽𝖾 𝗆𝖺𝗌𝖼𝗎𝗅𝗂𝗇𝗂𝖽𝖺𝖽𝖾 𝗈𝗎 𝖽𝖾 𝖺𝗀𝗋𝖾𝗌𝗌𝖺̃𝗈 𝗌𝗂𝗆𝖻𝗈́𝗅𝗂𝖼𝖺. 𝖠 𝖾́𝗍𝗂𝖼𝖺 𝖽𝗈 𝗃𝗈𝗀𝖺𝗋, 𝖺𝗊𝗎𝗂, 𝖾𝗌𝗍𝖾𝗇𝖽𝖾-𝗌𝖾 𝖺̀ 𝖿𝗈𝗋𝗆𝖺 𝖼𝗈𝗆𝗈 𝗉𝖺𝗋𝗍𝗂𝖼𝗂𝗉𝖺𝗆𝗈𝗌 𝗇𝖾𝗌𝗌𝖺 𝗍𝖾𝗇𝖽𝖾̂𝗇𝖼𝗂𝖺, 𝗈𝗎 𝗌𝖾𝗃𝖺, 𝖼𝗈𝗆𝗈 𝗋𝖾𝗌𝗂𝗌𝗍𝗂𝗆𝗈𝗌 𝖺̀ 𝗍𝖾𝗇𝗍𝖺𝖼̧𝖺̃𝗈 𝖽𝖾 𝗋𝗂𝖽𝗂𝖼𝗎𝗅𝖺𝗋𝗂𝗓𝖺𝗋, 𝗁𝗎𝗆𝗂𝗅𝗁𝖺𝗋 𝖾 𝖽𝖾 𝗎𝗌𝖺𝗋 𝖺 𝗂𝗋𝗈𝗇𝗂𝖺 𝖼𝗈𝗆𝗈 𝖺𝗋𝗆𝖺 𝖽𝖾 𝖺𝗋𝗋𝖾𝗆𝖾𝗌𝗌𝗈. 𝖮 𝗁𝗈𝗆𝗈 𝗅𝗎𝖽𝖾𝗇𝗌 𝗉𝗈𝗂𝖾𝗍𝗂𝖼𝗎𝗌 𝖾́ 𝖼𝗁𝖺𝗆𝖺𝖽𝗈 𝖺 𝗌𝖾𝗋 𝗍𝖺𝗆𝖻𝖾́𝗆 𝗎𝗆 𝖾𝗌𝗉𝖾𝖼𝗍𝖺𝖽𝗈𝗋 𝖼𝗋ı́𝗍𝗂𝖼𝗈 𝖽𝖺 𝗌𝗎𝖺 𝗉𝗋𝗈́𝗉𝗋𝗂𝖺 𝗉𝖾𝗋𝖿𝗈𝗋𝗆𝖺𝗇𝖼𝖾.
𝖮 𝗍𝖾𝗋𝖼𝖾𝗂𝗋𝗈 𝖽𝖾𝗌𝖺𝖿𝗂𝗈 𝖾́ 𝗈 𝗃𝗈𝗀𝗈 𝖼𝗈𝗆𝗈 𝗍𝗋𝖺𝗇𝗌𝖺𝖼̧𝖺̃𝗈 𝖽𝖾 𝖽𝖺𝖽𝗈𝗌 𝖾 𝖺𝗍𝖾𝗇𝖼̧𝖺̃𝗈. 𝖭𝗈 𝖼𝖺𝗉𝗂𝗍𝖺𝗅𝗂𝗌𝗆𝗈 𝖽𝖾 𝗉𝗅𝖺𝗍𝖺𝖿𝗈𝗋𝗆𝖺, 𝗈 𝖺𝗍𝗈 𝖽𝖾 𝗃𝗈𝗀𝖺𝗋 𝖾́ 𝗏𝗂𝗀𝗂𝖺𝖽𝗈, 𝗊𝗎𝖺𝗇𝗍𝗂𝖿𝗂𝖼𝖺𝖽𝗈 𝖾 𝖼𝗈𝗆𝖾𝗋𝖼𝗂𝖺𝖽𝗈. 𝖠 𝗅𝗂𝖻𝖾𝗋𝖽𝖺𝖽𝖾 𝗅𝗎́𝖽𝗂𝖼𝖺 𝖼𝗈𝖾𝗑𝗂𝗌𝗍𝖾 𝖼𝗈𝗆 𝖺 𝗏𝗂𝗀𝗂𝗅𝖺̂𝗇𝖼𝗂𝖺 𝖾 𝖼𝗈𝗆 𝖺 𝗆𝖾𝗋𝖼𝖺𝗇𝗍𝗂𝗅𝗂𝗓𝖺𝖼̧𝖺̃𝗈 𝖽𝖺 𝖾𝗆𝗈𝖼̧𝖺̃𝗈, 𝗌𝖾𝗃𝖺 𝗉𝖾𝗅𝖺 𝗏𝖾𝗇𝖽𝖺 𝖽𝖾 𝖺𝗇𝗎́𝗇𝖼𝗂𝗈𝗌 𝖽𝗂𝗋𝖾𝖼𝗂𝗈𝗇𝖺𝖽𝗈𝗌 𝗊𝗎𝖾 𝗍𝗋𝖺𝗇𝗌𝖿𝗈𝗋𝗆𝖺𝗆 𝖼𝖺𝖽𝖺 𝗀𝖾𝗌𝗍𝗈 𝖾𝗆 𝖽𝖺𝖽𝗈𝗌 𝖼𝗈𝗆𝖾𝗋𝖼𝗂𝖺𝗂𝗌, 𝗌𝖾𝗃𝖺 𝗉𝖾𝗅𝖺𝗌 𝗅𝗈𝗈𝗍 𝖻𝗈𝗑𝖾𝗌, 𝖼𝗈𝖿𝗋𝖾𝗌 𝗏𝗂𝗋𝗍𝗎𝖺𝗂𝗌 𝗉𝖺𝗀𝗈𝗌 𝗊𝗎𝖾 𝗈𝖿𝖾𝗋𝖾𝖼𝖾𝗆 𝗋𝖾𝖼𝗈𝗆𝗉𝖾𝗇𝗌𝖺𝗌 𝖺𝗅𝖾𝖺𝗍𝗈́𝗋𝗂𝖺𝗌 𝖾 𝗍𝗋𝖺𝗇𝗌𝖿𝗈𝗋𝗆𝖺𝗆 𝖺 𝖾𝗑𝗉𝖾𝖼𝗍𝖺𝗍𝗂𝗏𝖺 𝖾 𝗈 𝗉𝗋𝖺𝗓𝖾𝗋 𝖾𝗆 𝗅𝗎𝖼𝗋𝗈, 𝗍𝗋𝖺𝗇𝗌𝖿𝗈𝗋𝗆𝖺𝗇𝖽𝗈 𝗊𝗎𝖺𝗅𝗊𝗎𝖾𝗋 𝗃𝗈𝗀𝗈 𝗇𝗎𝗆 𝖼𝖺𝗌𝗂𝗇𝗈. 𝖠 𝖾́𝗍𝗂𝖼𝖺 𝖽𝗈 𝗃𝗈𝗀𝗈, 𝗇𝖾𝗌𝗌𝖾 𝖼𝗈𝗇𝗍𝖾𝗑𝗍𝗈, 𝗂𝗆𝗉𝗅𝗂𝖼𝖺 𝗉𝗋𝗈𝗍𝖾𝗀𝖾𝗋 𝖺 𝖺𝗎𝗍𝗈𝗇𝗈𝗆𝗂𝖺 𝖾 𝖺 𝗉𝗋𝗂𝗏𝖺𝖼𝗂𝖽𝖺𝖽𝖾 𝖽𝗈 𝗃𝗈𝗀𝖺𝖽𝗈𝗋 𝖾 𝗉𝗋𝖾𝗌𝖾𝗋𝗏𝖺𝗋 𝗈 𝖻𝗋𝗂𝗇𝖼𝖺𝗋 𝖼𝗈𝗆𝗈 𝖺𝗍𝗈 𝖽𝖾 𝗅𝗂𝖻𝖾𝗋𝖽𝖺𝖽𝖾 𝗇𝗎𝗆 𝗌𝗂𝗌𝗍𝖾𝗆𝖺 𝗊𝗎𝖾 𝗍𝖾𝗇𝗍𝖺 𝗍𝗋𝖺𝗇𝗌𝖿𝗈𝗋𝗆𝖺́-𝗅𝗈 𝖾𝗆 𝗆𝖾𝗋𝖼𝖺𝖽𝗈𝗋𝗂𝖺.
𝖴𝗆 𝗃𝗈𝗀𝗈 𝗉𝗈𝖽𝖾 𝗌𝖾𝗋 𝖻𝗋𝗎𝗍𝖺𝗅 𝖾, 𝖺𝗂𝗇𝖽𝖺 𝖺𝗌𝗌𝗂𝗆, 𝗉𝗋𝗈𝖿𝗎𝗇𝖽𝖺𝗆𝖾𝗇𝗍𝖾 𝗁𝗎𝗆𝖺𝗇𝗂𝗌𝗍𝖺. 𝖯𝗈𝖽𝖾 𝖾𝗇𝗌𝗂𝗇𝖺𝗋 𝖾𝗆𝗉𝖺𝗍𝗂𝖺 𝖺𝗍𝗋𝖺𝗏𝖾́𝗌 𝖽𝖺 𝖽𝖾𝗋𝗋𝗈𝗍𝖺 𝖾 𝖽𝗂𝗀𝗇𝗂𝖽𝖺𝖽𝖾 𝖺𝗍𝗋𝖺𝗏𝖾́𝗌 𝖽𝖺 𝗋𝖾𝗌𝗂𝗌𝗍𝖾̂𝗇𝖼𝗂𝖺. 𝖠 𝗊𝗎𝖾𝗌𝗍𝖺̃𝗈 𝗇𝖺̃𝗈 𝖾́ 𝖾𝗅𝗂𝗆𝗂𝗇𝖺𝗋 𝖺 𝗏𝗂𝗈𝗅𝖾̂𝗇𝖼𝗂𝖺, 𝗆𝖺𝗌 𝖼𝗈𝗆𝗉𝗋𝖾𝖾𝗇𝖽𝖾𝗋 𝗈 𝗊𝗎𝖾 𝖾𝗅𝖺 𝗋𝖾𝗏𝖾𝗅𝖺 𝗌𝗈𝖻𝗋𝖾 𝗇𝗈́𝗌 𝖾 𝗌𝗈𝖻𝗋𝖾 𝗈 𝗆𝗎𝗇𝖽𝗈 𝗊𝗎𝖾 𝖼𝗋𝗂𝖺𝗆𝗈𝗌. 𝖠 𝖺𝗎𝗌𝖾̂𝗇𝖼𝗂𝖺 𝖽𝖾 𝖼𝗈𝗇𝖿𝗅𝗂𝗍𝗈 𝗉𝗋𝗈𝖽𝗎𝗓𝗂𝗋𝗂𝖺 𝖺𝗉𝖾𝗇𝖺𝗌 𝖺𝗇𝖾𝗌𝗍𝖾𝗌𝗂𝖺. 𝖮 𝗃𝗈𝗀𝗈 𝖾𝗑𝗂𝗌𝗍𝖾 𝗍𝖺𝗆𝖻𝖾́𝗆 𝗉𝗈𝗋𝗊𝗎𝖾 𝗁𝖺́ 𝖿𝗋𝗂𝖼𝖼̧𝖺̃𝗈, 𝖾 𝖾́ 𝗇𝖾𝗅𝖺 𝗊𝗎𝖾 𝗌𝖾 𝖽𝖾𝗌𝖾𝗇𝗁𝖺 𝖺 𝖾́𝗍𝗂𝖼𝖺 𝖽𝗈 𝗁𝗈𝗆𝗈 𝗅𝗎𝖽𝖾𝗇𝗌 𝗉𝗈𝗂𝖾𝗍𝗂𝖼𝗎𝗌.
𝖬𝖺𝗂𝗌 𝖽𝗈 𝗊𝗎𝖾 𝗉𝗋𝗈𝗂𝖻𝗂𝗋 𝗈𝗎 𝗆𝗈𝗋𝖺𝗅𝗂𝗓𝖺𝗋, 𝗂𝗆𝗉𝗈𝗋𝗍𝖺 𝖽𝗂𝗌𝗉𝗎𝗍𝖺𝗋 𝗈 𝗌𝗂𝗀𝗇𝗂𝖿𝗂𝖼𝖺𝖽𝗈 𝖽𝗈 𝗃𝗈𝗀𝖺𝗋: 𝖿𝖺𝗓𝖾̂-𝗅𝗈 𝖾𝗌𝗉𝖺𝖼̧𝗈 𝖽𝖾 𝖼𝗋ı́𝗍𝗂𝖼𝖺, 𝖽𝖾 𝖼𝗋𝗂𝖺𝖼̧𝖺̃𝗈 𝖾 𝖽𝖾 𝖼𝗈𝗆𝗎𝗇𝗂𝖽𝖺𝖽𝖾. 𝖠 𝗁𝖾𝗀𝖾𝗆𝗈𝗇𝗂𝖺 𝗇𝖺̃𝗈 𝗌𝖾 𝖼𝗈𝗆𝖻𝖺𝗍𝖾 𝖼𝗈𝗆 𝖼𝖾𝗇𝗌𝗎𝗋𝖺, 𝗆𝖺𝗌 𝖼𝗈𝗆 𝗉𝗋𝖾𝗌𝖾𝗇𝖼̧𝖺. 𝖴𝗋𝗀𝖾 𝗉𝗈𝗋 𝗂𝗌𝗌𝗈, 𝖾𝗆 𝗏𝖾𝗓 𝖽𝖾 𝖽𝖾𝗆𝗈𝗇𝗂𝗓𝖺𝗋, 𝗉𝖾𝗇𝗌𝖺𝗋 𝖾 𝗉𝖺𝗋𝗍𝗂𝖼𝗂𝗉𝖺𝗋 𝖾𝗆 𝗇𝗈𝗏𝖺𝗌 𝖿𝗈𝗋𝗆𝖺𝗌 𝖽𝖾 𝗃𝗈𝗀𝖺𝗋, 𝖽𝖾 𝖼𝗈𝗇𝗍𝖺𝗋 𝗁𝗂𝗌𝗍𝗈́𝗋𝗂𝖺𝗌, 𝖽𝖾 𝗂𝗆𝖺𝗀𝗂𝗇𝖺𝗋 𝗈 𝗈𝗎𝗍𝗋𝗈, 𝖽𝖾𝗇𝗍𝗋𝗈 𝖾 𝖿𝗈𝗋𝖺 𝖽𝗈 𝗃𝗈𝗀𝗈.
* Engenheiro Informático. Mestrando em Ciência Política. Bolseiro de investigação
IN "ANTICAPITALISTA" - NOVEMBRO DE 2025 .
4249-UNIÃO
EUROPEIA
Governos precisam de quem bebe,
o álcool anestesia e os bêbedos
não criam problemas políticos,
não fazem greves nem manifs.
Quem são os maiores consumidores
de álcool na UE?
FONTE: Euronews-26/11/25
putin HUYLO
putin é um canalha .
Trump is also a killer
of innocent people Ukrainians
É também um aplicativo russo
.
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