#campaniafelix

[napolialunnideltempo]

___𝙉𝙀𝙎𝙎𝙐𝙉 𝙇𝙐𝙊𝙂𝙊 𝙀̀ 𝘾𝙊𝙈𝙀 𝙉𝘼𝙋𝙊𝙇𝙄 ___

#𝘾𝙤𝙡𝙡𝙚𝙩𝙩𝙞𝙫𝙤𝘿𝙞𝙎𝙘𝙧𝙞𝙩𝙩𝙪𝙧𝙖𝘼𝙡𝙪𝙣𝙣𝙞𝘿𝙚𝙡𝙏𝙚𝙢𝙥𝙤

𝙉𝙖𝙥𝙤𝙡𝙞 𝙞𝙣𝙘𝙖𝙣𝙩𝙖 𝙙𝙖 𝙨𝙚𝙘𝙤𝙡𝙞 𝙫𝙞𝙖𝙜𝙜𝙞𝙖𝙩𝙤𝙧𝙞 𝙚 𝙞𝙣𝙩𝙚𝙡𝙡𝙚𝙩𝙩𝙪𝙖𝙡𝙞 𝙨𝙩𝙧𝙖𝙣𝙞𝙚𝙧𝙞, 𝙘𝙝𝙚 𝙣𝙚 𝙘𝙤𝙡𝙜𝙤𝙣𝙤 𝙡'𝙚𝙨𝙨𝙚𝙣𝙯𝙖 𝙢𝙚𝙙𝙞𝙩𝙚𝙧𝙧𝙖𝙣𝙚𝙖 𝙞𝙧𝙧𝙞𝙥𝙚𝙩𝙞𝙗𝙞𝙡𝙚. 𝙀𝙘𝙘𝙤 𝙖𝙡𝙘𝙪𝙣𝙚 𝙩𝙚𝙨𝙩𝙞𝙢𝙤𝙣𝙞𝙖𝙣𝙯𝙚 𝙚𝙢𝙗𝙡𝙚𝙢𝙖𝙩𝙞𝙘𝙝𝙚.

J.W. von Goethe ("Viaggio in Italia", 1786-1788):

«Si dica, si narri, si dipinga quanto si vorrà: qui si troverà sempre di più. Napoli è la città più bella dell'universo». Il tedesco esplora Vesuvio, Pozzuoli, via Toledo, incantato dalla «gioia di vivere» dei napoletani: «accorti ed industriosi, non per diventare ricchi, ma per vivere senza pensieri».

Walter Benjamin e Asja Lācis ("Napoli", 1925):

«Napoli è anarchica, intrecciata, rustica nel centro. Nessuna situazione appare come è pensata per sempre, nessuna forma dichiara il suo 'così e non diversamente'. L'architettura è sintesi della ritmica comunitaria: civilizzata nei grandi alberghi, ma nel vivo della città pulsa una mediterraneità viva».

Maximilien Misson (viaggiatore francese, 1698):

«Napoli è generalmente tutta bella. Londra, Parigi, Roma, Vienna, Venezia hanno bei palazzi inframmezzati da case brutte; Napoli invece è uniforme nella sua bellezza, con case alte, tetti piani, strade dritte e larghe».

Stendhal ("Roma, Napoli e Firenze", 1817):

«Parto. Non dimenticherò né via Toledo né gli altri quartieri: ai miei occhi è, senza paragone, la città più bella dell'universo». Pur criticando le disuguaglianze sociali, resta folgorato dal fascino partenopeo. [espressonapoletano

John Horne Burns ("La Galleria", 1949):

Negli anni '40, l'americano descrive i vicoli di Napoli come teatro di «lotte per la sopravvivenza», rallegrato dalla «vivacità dei giovani e dei bambini» nella Galleria Umberto I: «Napoli è miseria e nobiltà insieme».

Questi estratti confermano l'intuizione di Nicola Spinosa: «Napoli è l'unico museo vivente del Mediterraneo, dove il patrimonio convive con le realtà sociali in continua trasformazione». Nessun luogo è come Napoli.

[laterrazzasorrento]

La vita lenta dell’incantevole borgo marinaro di Conca dei Marini 🛶 🌊 in Costiera Amalfitana. Uno tra i borghi più belli d’Italia ❤️ #conca #concadeimarini #concademarini #costieraamalfitana #amalficoast #amalfi #positano #furore #ravello #praiano #borghitalia #kings_villages #ilikeitaly #campania #campaniafelix #beautifuldestinations #italia #italy #sorrento #sorrentocoast #costierasorrentina #penisolasorrentina #laterrazzafamilyholidays #casavacanze #vacation #vacationrental #holidays #dolcevita #mare #sea (presso Conca dei Marini Costa di Amalfi) https://www.instagram.com/p/Cc7IStjtugm/?igshid=NGJjMDIxMWI=

[fabiopariante]

#Positano 🌊 ☀️ . #friends #blue #like4like #igerscampania #tourism #follow4follow #igersitaly #vesuviocoast #campania #campaniafelix #visitcampania #visititalyofficial #napoli #travel #instafollow #instamood #picoftheday #igersitalia #coasttocoast #coast #turismo #italy #sea #ilikeitaly #amalfi #vesuvius #museumweek #visititaly #view (presso Positano, Amalfi Coast, Italy) https://www.instagram.com/p/CS4nNpKsZUI/?utm_medium=tumblr

[u-man]

Old #project #campaniafelix #stilllife #naturamorta #terradeifuochi #setdesign and #pic by @carlowilliamrossi

[garrus83]

La cascata della Valle della Caccia Senerchia, 09/04/2017 #valledellacaccia #oasivalledellacaccia #senerchia #avellino #campania #campaniafelix #wwf #cascata #waterfall #escursione #excursion #domenica #sunday #nofilter #soundofthefalls

[rossellacantisani]

Primavera Oggi 21 marzo inizia la primavera. La celebriamo con questo splendido affresco in terzo stile proveniente da Villa Arianna a Stabiae: La Flora (detta anche Primavera).

[napolialunnideltempo]

_______✦ 𝙎𝙏𝙐𝘿𝙄 𝙉𝘼𝙋𝙊𝙇𝙀𝙏𝘼𝙉𝙄 ✦_______

𝙇𝙚𝙨𝙨𝙞𝙘𝙤𝙜𝙧𝙖𝙛𝙞𝙖 · 𝙀𝙩𝙣𝙤𝙜𝙧𝙖𝙛𝙞𝙖 · 𝘾𝙪𝙡𝙩𝙪𝙧𝙖 𝙈𝙖𝙩𝙚𝙧𝙞𝙖𝙡𝙚

𝙎𝙀 𝙁𝘼 𝘼𝙈𝘽𝙍𝙀𝙎𝙎𝙀 𝘼 𝘿𝙄𝘾𝙀𝙍𝙀. . .

#𝘾𝙤𝙡𝙡𝙚𝙩𝙩𝙞𝙫𝙤𝘿𝙞𝙎𝙘𝙧𝙞𝙩𝙩𝙪𝙧𝙖𝘼𝙡𝙪𝙣𝙣𝙞𝘿𝙚𝙡𝙏𝙚𝙢𝙥𝙤

𝙑𝙤𝙘𝙞 𝙚 𝙡𝙤𝙘𝙪𝙯𝙞𝙤𝙣𝙞 𝙙𝙚𝙡 𝙥𝙖𝙧𝙡𝙖𝙩𝙤 𝙥𝙤𝙥𝙤𝙡𝙖𝙧𝙚

𝘛𝘳𝘦 𝘷𝘰𝘤𝘪 𝘥𝘦𝘭 𝘱𝘢𝘳𝘭𝘢𝘵𝘰 𝘯𝘢𝘱𝘰𝘭𝘦𝘵𝘢𝘯𝘰: 𝘴𝘵𝘰𝘳𝘪𝘢, 𝘦𝘵𝘪𝘮𝘰𝘭𝘰𝘨𝘪𝘢 𝘦 𝘶𝘴𝘰 𝘤𝘰𝘯 𝘯𝘰𝘵𝘦 𝘥𝘪 𝘭𝘦𝘴𝘴𝘪𝘤𝘰𝘨𝘳𝘢𝘧𝘪𝘢 𝘴𝘵𝘰𝘳𝘪𝘤𝘢, 𝘵𝘳𝘢𝘥𝘪𝘻𝘪𝘰𝘯𝘦 𝘨𝘢𝘴𝘵𝘳𝘰𝘯𝘰𝘮𝘪𝘤𝘢 𝘦 𝘰𝘳𝘢𝘭𝘪𝘵𝘢̀ 𝘱𝘰𝘱𝘰𝘭𝘢𝘳𝘦.

𝙄𝙡 𝙣𝙖𝙥𝙤𝙡𝙚𝙩𝙖𝙣𝙤 𝙘𝙤𝙢𝙚 𝙖𝙧𝙘𝙝𝙞𝙫𝙞𝙤 𝙫𝙞𝙫𝙚𝙣𝙩𝙚

𝘐𝘭 𝘱𝘢𝘳𝘭𝘢𝘵𝘰 𝘯𝘢𝘱𝘰𝘭𝘦𝘵𝘢𝘯𝘰 𝘦̀ 𝘶𝘯 𝘮𝘰𝘯𝘥𝘰 𝘪𝘯 𝘴𝘦́: 𝘶𝘯 𝘪𝘯𝘵𝘳𝘦𝘤𝘤𝘪𝘰 𝘥𝘪 𝘴𝘵𝘰𝘳𝘪𝘦, 𝘮𝘦𝘮𝘰𝘳𝘪𝘦 𝘦 𝘪𝘯𝘧𝘭𝘶𝘴𝘴𝘪 𝘤𝘶𝘭𝘵𝘶𝘳𝘢𝘭𝘪 𝘤𝘩𝘦 𝘴𝘪 𝘴𝘰𝘯𝘰 𝘴𝘦𝘥𝘪𝘮𝘦𝘯𝘵𝘢𝘵𝘪 𝘯𝘦𝘪 𝘴𝘦𝘤𝘰𝘭𝘪. 𝘛𝘳𝘢 𝘦𝘤𝘩𝘪 𝘨𝘳𝘦𝘤𝘪, 𝘵𝘳𝘢𝘤𝘤𝘦 𝘭𝘢𝘵𝘪𝘯𝘦, 𝘪𝘯𝘧𝘭𝘶𝘴𝘴𝘪 𝘢𝘳𝘢𝘣𝘪 𝘦 𝘱𝘢𝘳𝘰𝘭𝘦 𝘢𝘳𝘳𝘪𝘷𝘢𝘵𝘦 𝘥𝘢 𝘚𝘱𝘢𝘨𝘯𝘢 𝘦 𝘍𝘳𝘢𝘯𝘤𝘪𝘢, 𝘰𝘨𝘯𝘪 𝘦𝘴𝘱𝘳𝘦𝘴𝘴𝘪𝘰𝘯𝘦 𝘦̀ 𝘶𝘯 𝘱𝘪𝘤𝘤𝘰𝘭𝘰 𝘧𝘳𝘢𝘮𝘮𝘦𝘯𝘵𝘰 𝘥𝘪 𝘴𝘵𝘰𝘳𝘪𝘢 𝘮𝘦𝘥𝘪𝘵𝘦𝘳𝘳𝘢𝘯𝘦𝘢, 𝘶𝘯 𝘵𝘦𝘴𝘵𝘪𝘮𝘰𝘯𝘦 𝘥𝘪 𝘤𝘰𝘮𝘦 𝘪𝘭 𝘱𝘰𝘱𝘰𝘭𝘰 𝘢𝘣𝘣𝘪𝘢 𝘴𝘢𝘱𝘶𝘵𝘰 𝘢𝘥𝘢𝘵𝘵𝘢𝘳𝘦, 𝘵𝘳𝘢𝘴𝘧𝘰𝘳𝘮𝘢𝘳𝘦 𝘦 𝘧𝘢𝘳𝘦 𝘱𝘳𝘰𝘱𝘳𝘪𝘰 𝘤𝘪𝘰̀ 𝘤𝘩𝘦 𝘨𝘭𝘪 𝘢𝘳𝘳𝘪𝘷𝘢𝘷𝘢 𝘥𝘢 𝘧𝘶𝘰𝘳𝘪.

𝘗𝘪𝘶̀ 𝘤𝘩𝘦 𝘶𝘯 𝘥𝘪𝘢𝘭𝘦𝘵𝘵𝘰, 𝘪𝘭 𝘯𝘢𝘱𝘰𝘭𝘦𝘵𝘢𝘯𝘰 𝘦̀ 𝘶𝘯 𝘢𝘳𝘤𝘩𝘪𝘷𝘪𝘰 𝘷𝘪𝘷𝘦𝘯𝘵𝘦: 𝘰𝘨𝘯𝘪 𝘧𝘳𝘢𝘴𝘦, 𝘰𝘨𝘯𝘪 𝘮𝘰𝘥𝘰 𝘥𝘪 𝘥𝘪𝘳𝘦, 𝘤𝘰𝘯𝘵𝘪𝘦𝘯𝘦 𝘪𝘯 𝘴𝘦́ 𝘴𝘵𝘰𝘳𝘪𝘢, 𝘤𝘰𝘴𝘵𝘶𝘮𝘦 𝘦 𝘤𝘢𝘱𝘢𝘤𝘪𝘵𝘢̀ 𝘥𝘪 𝘰𝘴𝘴𝘦𝘳𝘷𝘢𝘻𝘪𝘰𝘯𝘦. 𝘕𝘰𝘯 𝘦̀ 𝘴𝘰𝘭𝘰 𝘶𝘯 𝘳𝘦𝘱𝘦𝘳𝘵𝘰𝘳𝘪𝘰 𝘥𝘪 𝘱𝘢𝘳𝘰𝘭𝘦, 𝘮𝘢 𝘶𝘯 𝘴𝘪𝘴𝘵𝘦𝘮𝘢 𝘤𝘰𝘦𝘳𝘦𝘯𝘵𝘦, 𝘤𝘢𝘱𝘢𝘤𝘦 𝘥𝘪 𝘳𝘢𝘤𝘤𝘰𝘯𝘵𝘢𝘳𝘦 𝘤𝘩𝘪 𝘴𝘪𝘢𝘮𝘰 𝘴𝘵𝘢𝘵𝘪 𝘦 𝘤𝘩𝘪 𝘴𝘪𝘢𝘮𝘰, 𝘢𝘵𝘵𝘳𝘢𝘷𝘦𝘳𝘴𝘰 𝘶𝘮𝘰𝘳𝘪𝘴𝘮𝘰, 𝘪𝘳𝘰𝘯𝘪𝘢 𝘦 𝘱𝘳𝘦𝘤𝘪𝘴𝘪𝘰𝘯𝘦 𝘤𝘰𝘮𝘶𝘯𝘪𝘤𝘢𝘵𝘪𝘷𝘢.

𝙑𝙤𝙘𝙞 𝙖 𝙘𝙤𝙣𝙛𝙧𝙤𝙣𝙩𝙤

𝘐𝘯 𝘲𝘶𝘦𝘴𝘵𝘢 𝘳𝘶𝘣𝘳𝘪𝘤𝘢, 𝘲𝘶𝘢𝘵𝘵𝘳𝘰 𝘦𝘴𝘱𝘳𝘦𝘴𝘴𝘪𝘰𝘯𝘪 𝘥𝘦𝘭 𝘱𝘢𝘳𝘭𝘢𝘵𝘰 𝘯𝘢𝘱𝘰𝘭𝘦𝘵𝘢𝘯𝘰 𝘷𝘦𝘯𝘨𝘰𝘯𝘰 𝘱𝘳𝘦𝘴𝘦𝘯𝘵𝘢𝘵𝘦 𝘤𝘰𝘮𝘦 𝘦𝘴𝘦𝘮𝘱𝘪 𝘦𝘮𝘣𝘭𝘦𝘮𝘢𝘵𝘪𝘤𝘪:

1. 𝘓𝘢 𝘴𝘢𝘨𝘨𝘦𝘻𝘻𝘢 𝘢𝘶𝘵𝘰𝘪𝘳𝘰𝘯𝘪𝘤𝘢 – 𝘶𝘯𝘢 𝘭𝘰𝘤𝘶𝘻𝘪𝘰𝘯𝘦 𝘤𝘩𝘦 𝘮𝘰𝘴𝘵𝘳𝘢 𝘲𝘶𝘢𝘯𝘵𝘰 𝘪𝘭 𝘱𝘰𝘱𝘰𝘭𝘰 𝘯𝘢𝘱𝘰𝘭𝘦𝘵𝘢𝘯𝘰 𝘴𝘢𝘱𝘱𝘪𝘢 𝘳𝘪𝘥𝘦𝘳𝘦 𝘥𝘪 𝘴𝘦́ 𝘴𝘵𝘦𝘴𝘴𝘰, 𝘵𝘳𝘢𝘴𝘧𝘰𝘳𝘮𝘢𝘯𝘥𝘰 𝘭’𝘦𝘴𝘱𝘦𝘳𝘪𝘦𝘯𝘻𝘢 𝘲𝘶𝘰𝘵𝘪𝘥𝘪𝘢𝘯𝘢 𝘪𝘯 𝘪𝘯𝘴𝘦𝘨𝘯𝘢𝘮𝘦𝘯𝘵𝘰 𝘤𝘰𝘯𝘥𝘪𝘷𝘪𝘴𝘰.

2. 𝘓𝘢 𝘱𝘭𝘢𝘴𝘵𝘪𝘤𝘪𝘵𝘢̀ 𝘴𝘦𝘮𝘢𝘯𝘵𝘪𝘤𝘢 – 𝘶𝘯𝘢 𝘱𝘢𝘳𝘰𝘭𝘢 𝘰 𝘧𝘳𝘢𝘴𝘦 𝘥𝘪 𝘰𝘳𝘪𝘨𝘪𝘯𝘦 𝘴𝘵𝘳𝘢𝘯𝘪𝘦𝘳𝘢, 𝘢𝘴𝘴𝘪𝘮𝘪𝘭𝘢𝘵𝘢 𝘦 𝘳𝘦𝘪𝘯𝘵𝘦𝘳𝘱𝘳𝘦𝘵𝘢𝘵𝘢, 𝘤𝘩𝘦 𝘥𝘪𝘮𝘰𝘴𝘵𝘳𝘢 𝘭𝘢 𝘤𝘢𝘱𝘢𝘤𝘪𝘵𝘢̀ 𝘥𝘦𝘭 𝘯𝘢𝘱𝘰𝘭𝘦𝘵𝘢𝘯𝘰 𝘥𝘪 𝘵𝘳𝘢𝘴𝘧𝘰𝘳𝘮𝘢𝘳𝘦 𝘪𝘭 𝘯𝘶𝘰𝘷𝘰 𝘪𝘯 𝘲𝘶𝘢𝘭𝘤𝘰𝘴𝘢 𝘥𝘪 𝘱𝘦𝘳𝘧𝘦𝘵𝘵𝘢𝘮𝘦𝘯𝘵𝘦 𝘭𝘰𝘤𝘢𝘭𝘦.

3. 𝘐𝘭 𝘳𝘪𝘨𝘰𝘳𝘦 𝘤𝘰𝘮𝘶𝘯𝘪𝘤𝘢𝘵𝘪𝘷𝘰 – 𝘶𝘯’𝘦𝘴𝘱𝘳𝘦𝘴𝘴𝘪𝘰𝘯𝘦 𝘤𝘩𝘦 𝘥𝘪𝘴𝘵𝘪𝘯𝘨𝘶𝘦 𝘤𝘰𝘯 𝘱𝘳𝘦𝘤𝘪𝘴𝘪𝘰𝘯𝘦 𝘤𝘪𝘰̀ 𝘤𝘩𝘦 𝘷𝘪𝘦𝘯𝘦 𝘥𝘦𝘵𝘵𝘰 𝘥𝘢 𝘤𝘪𝘰̀ 𝘤𝘩𝘦 𝘴𝘪 𝘪𝘯𝘵𝘦𝘯𝘥𝘦, 𝘲𝘶𝘢𝘴𝘪 𝘤𝘰𝘯 𝘳𝘪𝘨𝘰𝘳𝘦 𝘭𝘦𝘨𝘢𝘭𝘦, 𝘦𝘷𝘪𝘥𝘦𝘯𝘻𝘪𝘢𝘯𝘥𝘰 𝘭𝘢 𝘤𝘢𝘱𝘢𝘤𝘪𝘵𝘢̀ 𝘥𝘦𝘭 𝘱𝘢𝘳𝘭𝘢𝘵𝘰 𝘥𝘪 𝘰𝘳𝘥𝘪𝘯𝘢𝘳𝘦 𝘭𝘢 𝘳𝘦𝘢𝘭𝘵𝘢̀ 𝘦 𝘥𝘪 𝘳𝘦𝘨𝘰𝘭𝘢𝘮𝘦𝘯𝘵𝘢𝘳𝘦 𝘭’𝘪𝘯𝘵𝘦𝘳𝘱𝘳𝘦𝘵𝘢𝘻𝘪𝘰𝘯𝘦.

𝘘𝘶𝘦𝘴𝘵𝘦 𝘭𝘰𝘤𝘶𝘻𝘪𝘰𝘯𝘪, 𝘱𝘶𝘳 𝘯𝘦𝘭𝘭𝘢 𝘭𝘰𝘳𝘰 𝘴𝘦𝘮𝘱𝘭𝘪𝘤𝘪𝘵𝘢̀ 𝘢𝘱𝘱𝘢𝘳𝘦𝘯𝘵𝘦, 𝘰𝘧𝘧𝘳𝘰𝘯𝘰 𝘶𝘯 𝘱𝘢𝘯𝘰𝘳𝘢𝘮𝘢 𝘳𝘪𝘤𝘤𝘰 𝘥𝘪 𝘴𝘵𝘰𝘳𝘪𝘢 𝘦 𝘭𝘪𝘯𝘨𝘶𝘪𝘴𝘵𝘪𝘤𝘢. 𝘌𝘴𝘴𝘦 𝘵𝘦𝘴𝘵𝘪𝘮𝘰𝘯𝘪𝘢𝘯𝘰 𝘤𝘰𝘮𝘦 𝘭𝘢 𝘵𝘳𝘢𝘥𝘪𝘻𝘪𝘰𝘯𝘦 𝘰𝘳𝘢𝘭𝘦 𝘯𝘢𝘱𝘰𝘭𝘦𝘵𝘢𝘯𝘢 𝘴𝘪𝘢 𝘶𝘯 𝘭𝘢𝘣𝘰𝘳𝘢𝘵𝘰𝘳𝘪𝘰 𝘥𝘪 𝘮𝘦𝘮𝘰𝘳𝘪𝘢 𝘦 𝘪𝘯𝘵𝘦𝘭𝘭𝘪𝘨𝘦𝘯𝘻𝘢 𝘤𝘰𝘭𝘭𝘦𝘵𝘵𝘪𝘷𝘢, 𝘶𝘯 𝘱𝘢𝘵𝘳𝘪𝘮𝘰𝘯𝘪𝘰 𝘤𝘩𝘦 𝘮𝘦𝘳𝘪𝘵𝘢 𝘭𝘦𝘵𝘵𝘶𝘳𝘢, 𝘴𝘵𝘶𝘥𝘪𝘰 𝘦 𝘷𝘢𝘭𝘰𝘳𝘪𝘻𝘻𝘢𝘻𝘪𝘰𝘯𝘦 𝘧𝘪𝘭𝘰𝘭𝘰𝘨𝘪𝘤𝘢.

𝘝𝘈 𝘛𝘙𝘜𝘝𝘈𝘕𝘕𝘖 𝘊𝘏𝘐 𝘓𝘓'𝘈𝘊𝘊𝘐𝘋𝘌

𝘓𝘦𝘮𝘮𝘢: 𝘝𝘢 𝘵𝘳𝘶𝘷𝘢𝘯𝘯𝘰 𝘤𝘩𝘪 𝘭𝘭'𝘢̀𝘤𝘤𝘪𝘥𝘦

𝘛𝘳𝘢𝘥𝘶𝘻𝘪𝘰𝘯𝘦 𝘭𝘦𝘵𝘵𝘦𝘳𝘢𝘭𝘦: ”𝘷𝘢 𝘪𝘯 𝘤𝘦𝘳𝘤𝘢 𝘥𝘪 𝘤𝘩𝘪 𝘭𝘰 𝘢𝘮𝘮𝘢𝘻𝘻𝘪”.

𝘚𝘪𝘨𝘯𝘪𝘧𝘪𝘤𝘢𝘵𝘰: 𝘓𝘰 𝘴𝘪 𝘥𝘪𝘤𝘦 𝘥𝘪 𝘤𝘩𝘪, 𝘴𝘤𝘪𝘰𝘤𝘤𝘰 𝘦 𝘮𝘢𝘴𝘰𝘤𝘩𝘪𝘴𝘵𝘢 𝘱𝘳𝘰𝘷𝘰𝘤𝘩𝘪 𝘪𝘭 𝘱𝘳𝘰𝘴𝘴𝘪𝘮𝘰, 𝘭𝘰 𝘴𝘵𝘪𝘻𝘻𝘪𝘴𝘤𝘢 𝘢𝘭 𝘱𝘶𝘯𝘵𝘰 𝘥𝘢 𝘱𝘳𝘰𝘷𝘰𝘤𝘢𝘳𝘯𝘦 𝘨𝘭𝘪 𝘪𝘴𝘵𝘪𝘯𝘵𝘪 𝘰𝘮𝘪𝘤𝘪𝘥𝘪 𝘯𝘦𝘪 𝘥𝘪 𝘭𝘶𝘪 𝘤𝘰𝘯𝘧𝘳𝘰𝘯𝘵𝘪.

𝘌𝘚𝘚𝘌𝘙𝘌 𝘉𝘙𝘜𝘛𝘛𝘖 𝘊𝘜 '𝘖 𝘛𝘌̀ 𝘊𝘜 '𝘖 𝘕𝘌̀, '𝘖 𝘗𝘐𝘙𝘐𝘗𝘐𝘚𝘚𝘖 𝘌 '𝘖 𝘕𝘈𝘐𝘈𝘕𝘈̀

𝘓𝘦𝘮𝘮𝘢: 𝘌𝘴𝘴𝘦𝘳𝘦 𝘣𝘳𝘶𝘵𝘵𝘰 𝘤𝘶 '𝘰 𝘵𝘦̀ 𝘤𝘶 '𝘰 𝘯𝘦̀, '𝘰 𝘱𝘪𝘳𝘪𝘱𝘪𝘴𝘴𝘰 𝘦 '𝘰 𝘯𝘢𝘪𝘢𝘯𝘢̀

𝘛𝘳𝘢𝘥𝘶𝘻𝘪𝘰𝘯𝘦: 𝘗𝘳𝘢𝘵𝘪𝘤𝘢𝘮𝘦𝘯𝘵𝘦 𝘪𝘯𝘵𝘳𝘢𝘥𝘶𝘤𝘪𝘣𝘪𝘭𝘦.

𝘚𝘪𝘨𝘯𝘪𝘧𝘪𝘤𝘢𝘵𝘰: 𝘓𝘰𝘤𝘶𝘻𝘪𝘰𝘯𝘦 𝘱𝘳𝘢𝘵𝘪𝘤𝘢𝘮𝘦𝘯𝘵𝘦 𝘪𝘯𝘵𝘳𝘢𝘥𝘶𝘤𝘪𝘣𝘪𝘭𝘦 𝘤𝘩𝘦 𝘳𝘢𝘤𝘤𝘩𝘪𝘶𝘥𝘦 𝘯𝘦𝘪 𝘴𝘶𝘰𝘪 𝘲𝘶𝘢𝘵𝘵𝘳𝘰 𝘵𝘦𝘳𝘮𝘪𝘯𝘪 𝘭𝘢 𝘲𝘶𝘪𝘯𝘵𝘦𝘴𝘴𝘦𝘯𝘻𝘢 𝘥𝘦𝘭𝘭𝘢 𝘣𝘳𝘶𝘵𝘵𝘦𝘻𝘻𝘢 𝘱𝘦𝘳 𝘮𝘰𝘥𝘰 𝘤𝘩𝘦 𝘤𝘰𝘭𝘶𝘪 𝘤𝘰𝘯𝘵𝘳𝘰 𝘤𝘶𝘪 𝘷𝘪𝘦𝘯𝘦 𝘶𝘴𝘢𝘵𝘢 𝘴𝘢𝘳𝘢̀ 𝘪𝘯𝘥𝘪𝘤𝘢𝘵𝘰 𝘤𝘰𝘮𝘦 𝘭'𝘦𝘴𝘴𝘦𝘳𝘦 𝘱𝘪𝘶́ 𝘣𝘳𝘶𝘵𝘵𝘰 𝘪𝘯 𝘤𝘪𝘳𝘤𝘰𝘭𝘢𝘻𝘪𝘰𝘯𝘦. 𝘛𝘦𝘯𝘵𝘢𝘳𝘦 𝘥𝘪 𝘪𝘯𝘥𝘪𝘷𝘪𝘥𝘶𝘢𝘳𝘦 𝘪𝘭 𝘴𝘪𝘨𝘯𝘪𝘧𝘪𝘤𝘢𝘵𝘰 𝘥𝘦𝘪 𝘲𝘶𝘢𝘵𝘵𝘳𝘰 𝘯𝘰𝘯-𝘴𝘦𝘯𝘴𝘦 𝘥𝘦𝘭𝘭𝘢 𝘭𝘰𝘤𝘶𝘻𝘪𝘰𝘯𝘦 𝘦̀ 𝘤𝘰𝘴𝘢 𝘪𝘮𝘱𝘰𝘴𝘴𝘪𝘣𝘪𝘭𝘦 𝘦𝘥 𝘦𝘴𝘦𝘳𝘤𝘪𝘻𝘪𝘰 𝘪𝘯𝘶𝘵𝘪𝘭𝘦: 𝘶𝘯 𝘯𝘢𝘱𝘰𝘭𝘦𝘵𝘢𝘯𝘰 𝘴𝘢 𝘣𝘦𝘯𝘪𝘴𝘴𝘪𝘮𝘰 𝘤𝘰𝘴𝘢 𝘷𝘶𝘰𝘭𝘦 𝘴𝘪𝘨𝘯𝘪𝘧𝘪𝘤𝘢𝘳𝘦 𝘲𝘶𝘢𝘯𝘥𝘰 𝘢𝘧𝘧𝘦𝘳𝘮𝘢 𝘥𝘪 𝘲𝘶𝘢𝘭𝘤𝘶𝘯𝘰 𝘤𝘩𝘦 𝘦̀ 𝘣𝘳𝘶𝘵𝘵𝘰 𝘤𝘶 '𝘰 𝘵𝘦̀ 𝘤𝘶 '𝘰 𝘯𝘦̀, '𝘰 𝘱𝘪𝘳𝘪𝘱𝘪𝘴𝘴𝘰 𝘦 '𝘰 𝘯𝘢𝘪𝘢𝘯𝘢̀.

𝘝𝘢𝘳𝘪𝘢𝘯𝘵𝘪 𝘷𝘰𝘭𝘨𝘢𝘳𝘪: 𝘐𝘯 𝘮𝘢𝘯𝘪𝘦𝘳𝘢 𝘱𝘪𝘶́ 𝘷𝘰𝘭𝘨𝘢𝘳𝘦, 𝘮𝘢 𝘧𝘰𝘳𝘴𝘦 𝘱𝘪𝘶́ 𝘪𝘤𝘢𝘴𝘵𝘪𝘤𝘢 𝘥𝘪 𝘱𝘦𝘳𝘴𝘰𝘯𝘢 𝘣𝘳𝘶𝘵𝘵𝘢 𝘤𝘶 '𝘰 𝘵𝘦̀ 𝘤𝘶 '𝘰 𝘯𝘦̀, '𝘰 𝘱𝘪𝘳𝘪𝘱𝘪𝘴𝘴𝘰 𝘦 '𝘰 𝘯𝘢𝘪𝘢𝘯𝘢̀ 𝘴’𝘶𝘴𝘢 𝘥𝘪𝘳𝘦 𝘦̀ ‘𝘯𝘶 𝘤𝘦𝘴𝘴𝘰 𝘴𝘤𝘢𝘳𝘥𝘢𝘵𝘰 (𝘦𝘴𝘱𝘳𝘦𝘴𝘴𝘪𝘰𝘯𝘦 𝘤𝘩𝘦 𝘢𝘵𝘵𝘪𝘦𝘯𝘦 𝘢𝘭𝘭𝘦 𝘲𝘶𝘢𝘭𝘪𝘵𝘢̀ 𝘧𝘪𝘴𝘪𝘤𝘩𝘦), 𝘮𝘢 𝘥𝘦𝘤𝘭𝘪𝘯𝘢𝘵𝘢 𝘢𝘭 𝘧𝘦𝘮𝘮𝘪𝘯𝘪𝘭𝘦: 𝘤𝘦𝘴𝘴𝘢 𝘴𝘤𝘢𝘳𝘥𝘢𝘵𝘢 𝘦̀ 𝘦𝘴𝘱𝘳𝘦𝘴𝘴𝘪𝘰𝘯𝘦 𝘤𝘩𝘦 𝘢𝘵𝘵𝘪𝘦𝘯𝘦 𝘢𝘭𝘭𝘦 𝘲𝘶𝘢𝘭𝘪𝘵𝘢̀ 𝘮𝘰𝘳𝘢𝘭𝘪, 𝘦𝘥 𝘦̀ 𝘶𝘴𝘢𝘵𝘢 𝘪𝘯 𝘳𝘪𝘧𝘦𝘳𝘪𝘮𝘦𝘯𝘵𝘰 𝘢𝘥 𝘶𝘯𝘢 𝘥𝘰𝘯𝘯𝘢 𝘥𝘪 𝘧𝘢𝘤𝘪𝘭𝘪 𝘤𝘰𝘴𝘵𝘶𝘮𝘪.

𝘉𝘜𝘖𝘕𝘖 𝘗'𝘈𝘗𝘈𝘙𝘈̀ '𝘖 𝘔𝘈𝘚𝘛𝘙𝘐𝘓𝘓𝘖

𝘓𝘦𝘮𝘮𝘢: 𝘉𝘶𝘰𝘯𝘰 𝘱'𝘢𝘱𝘢𝘳𝘢̀ '𝘰 𝘮𝘢𝘴𝘵𝘳𝘪𝘭𝘭𝘰

𝘛𝘳𝘢𝘥𝘶𝘻𝘪𝘰𝘯𝘦 𝘭𝘦𝘵𝘵𝘦𝘳𝘢𝘭𝘦: ”(𝘢𝘱𝘱𝘦𝘯𝘢) 𝘣𝘶𝘰𝘯𝘰 𝘱𝘦𝘳 𝘢𝘳𝘮𝘢𝘳𝘦 𝘭𝘢 𝘵𝘳𝘢𝘱𝘱𝘰𝘭𝘪𝘯𝘢”.

𝘚𝘪𝘨𝘯𝘪𝘧𝘪𝘤𝘢𝘵𝘰: 𝘐𝘭 𝘮𝘢𝘴𝘵𝘳𝘪𝘭𝘭𝘰 (𝘥𝘢𝘭 𝘭𝘢𝘵. 𝘮𝘶𝘴𝘵𝘳𝘪𝘤𝘶𝘭𝘶(𝘮) → 𝘮𝘶𝘴𝘵𝘳𝘪𝘤𝘭𝘶(𝘮) → 𝘮𝘶𝘴𝘵𝘳𝘪𝘭𝘭𝘶(𝘮) → 𝘮𝘢𝘴𝘵𝘳𝘪𝘭𝘭𝘰) 𝘦̀ 𝘭𝘢 𝘱𝘪𝘤𝘤𝘰𝘭𝘢 𝘵𝘳𝘢𝘱𝘱𝘰𝘭𝘢 𝘱𝘦𝘳 𝘵𝘰𝘱𝘪 𝘯𝘦𝘭𝘭𝘢 𝘲𝘶𝘢𝘭𝘦 𝘢 𝘮𝘰' 𝘥𝘪 𝘦𝘴𝘤𝘢 𝘴𝘪 𝘱𝘰𝘯𝘦 𝘶𝘯 𝘪𝘳𝘳𝘪𝘴𝘰𝘳𝘪𝘰 𝘱𝘦𝘻𝘻𝘦𝘵𝘵𝘰 𝘥𝘪 𝘧𝘰𝘳𝘮𝘢𝘨𝘨𝘪𝘰; 𝘤𝘰𝘴𝘪́ 𝘤𝘩𝘦 𝘲𝘶𝘢𝘯𝘥𝘰 𝘴𝘪 𝘥𝘪𝘤𝘦 𝘥𝘪 𝘶𝘯𝘢 𝘳𝘢𝘻𝘪𝘰𝘯𝘦 𝘢𝘭𝘪𝘮𝘦𝘯𝘵𝘢𝘳𝘦 𝘤𝘩𝘦 𝘦̀ 𝘣𝘣𝘰𝘯𝘢 𝘱’𝘢𝘱𝘢𝘳𝘢̀ ‘𝘰 𝘮𝘢𝘴𝘵𝘳𝘪𝘭𝘭𝘰 (𝘤𝘩𝘦 𝘦̀ 𝘣𝘶𝘰𝘯𝘢 𝘱𝘦𝘳 𝘢𝘳𝘮𝘢𝘳𝘦 𝘭𝘢 𝘵𝘳𝘢𝘱𝘱𝘰𝘭𝘢), 𝘴𝘪 𝘷𝘶𝘰𝘭 𝘴𝘪𝘨𝘯𝘪𝘧𝘪𝘤𝘢𝘳𝘦 𝘤𝘩𝘦 𝘭𝘢 𝘳𝘢𝘻𝘪𝘰𝘯𝘦 𝘦̀ 𝘷𝘦𝘳𝘢𝘮𝘦𝘯𝘵𝘦 𝘱𝘢𝘳𝘷𝘢 𝘳𝘦𝘴, 𝘦𝘴𝘪𝘨𝘶𝘢 𝘦 𝘯𝘰𝘯 𝘢𝘥𝘢𝘵𝘵𝘢 𝘢 𝘴𝘰𝘥𝘥𝘪𝘴𝘧𝘢𝘳𝘦 𝘯𝘦𝘱𝘱𝘶𝘳𝘦 𝘶𝘯 𝘯𝘰𝘳𝘮𝘢𝘭𝘦 𝘢𝘱𝘱𝘦𝘵𝘪𝘵𝘰.

𝘑𝘐́ 𝘈𝘚𝘊𝘐𝘈𝘕𝘕𝘖 𝘎𝘜𝘈𝘑𝘌 𝘊𝘜 '𝘖 𝘓𝘈𝘕𝘛𝘌𝘙𝘕𝘐𝘕𝘖

𝘓𝘦𝘮𝘮𝘢: 𝘑𝘪́ 𝘢𝘴𝘤𝘪𝘢𝘯𝘯𝘰 𝘨𝘶𝘢𝘪𝘦 𝘤𝘶 '𝘰 𝘭𝘢𝘯𝘵𝘦𝘳𝘯𝘪𝘯𝘰

𝘛𝘳𝘢𝘥𝘶𝘻𝘪𝘰𝘯𝘦 𝘭𝘦𝘵𝘵𝘦𝘳𝘢𝘭𝘦: ”𝘢𝘯𝘥𝘢𝘳𝘦 𝘢𝘭𝘭𝘢 𝘳𝘪𝘤𝘦𝘳𝘤𝘢 𝘥𝘪 𝘨𝘶𝘢𝘪 𝘤𝘰𝘯 𝘭𝘢 𝘭𝘢𝘯𝘵𝘦𝘳𝘯𝘢”.

𝘚𝘪𝘨𝘯𝘪𝘧𝘪𝘤𝘢𝘵𝘰: 𝘊𝘢𝘤𝘤𝘪𝘢𝘳𝘴𝘪 𝘯𝘦𝘪 𝘨𝘶𝘢𝘪 𝘲𝘶𝘢𝘴𝘪 𝘤𝘰𝘯 𝘷𝘰𝘭𝘶𝘵𝘵𝘢̀ 𝘢𝘭 𝘱𝘶𝘯𝘵𝘰 𝘥𝘪 𝘢𝘯𝘥𝘢𝘳𝘯𝘦 𝘢𝘭𝘭𝘢 𝘳𝘪𝘤𝘦𝘳𝘤𝘢 𝘤𝘰𝘯 𝘶𝘯𝘢 𝘮𝘦𝘵𝘢𝘧𝘰𝘳𝘪𝘤𝘢 𝘭𝘢𝘯𝘵𝘦𝘳𝘯𝘢 𝘤𝘩𝘦 𝘪𝘭𝘭𝘶𝘮𝘪𝘯𝘪 𝘪 𝘭𝘶𝘰𝘨𝘩𝘪 𝘥𝘰𝘷𝘦 𝘪 𝘨𝘶𝘢𝘪 𝘴𝘵𝘢𝘯𝘯𝘰 𝘯𝘢𝘴𝘤𝘰𝘴𝘵𝘪.

𝘌𝘵𝘪𝘮𝘰𝘭𝘰𝘨𝘪𝘢: 𝘐𝘭 𝘵𝘦𝘳𝘮𝘪𝘯𝘦 𝘢𝘴𝘤𝘪𝘢𝘳𝘦 𝘴𝘪𝘨𝘯𝘪𝘧𝘪𝘤𝘢 𝘤𝘦𝘳𝘤𝘢𝘳𝘦 𝘲𝘶𝘢𝘭𝘤𝘰𝘴𝘢 𝘤𝘰𝘯 𝘪𝘯𝘴𝘪𝘴𝘵𝘦𝘯𝘻𝘢 𝘲𝘶𝘢𝘴𝘪 𝘧𝘪𝘶𝘵𝘢𝘯𝘥𝘰𝘭𝘢 𝘦 𝘷𝘪𝘦𝘯𝘦 𝘥𝘢𝘭 𝘭𝘢𝘵𝘪𝘯𝘰 𝘢𝘥𝘧𝘭𝘢𝘳𝘦 → 𝘢𝘥𝘴𝘤𝘪𝘢𝘳𝘦 → 𝘢𝘴𝘤𝘪𝘢𝘳𝘦: 𝘢𝘯𝘯𝘶𝘴𝘢𝘳𝘦 𝘤𝘰𝘯 𝘤𝘰𝘯𝘴𝘶𝘦𝘵𝘢 𝘵𝘳𝘢𝘴𝘧𝘰𝘳𝘮𝘢𝘻𝘪𝘰𝘯𝘦 𝘥𝘪 𝘧𝘭 𝘪𝘯 𝘴𝘤𝘪 𝘤𝘰𝘮𝘦 𝘱𝘦𝘳 𝘧𝘭𝘰𝘴 𝘤𝘩𝘦 𝘪𝘯 𝘯𝘢𝘱𝘰𝘭𝘦𝘵𝘢𝘯𝘰 𝘥𝘪𝘷𝘦𝘯𝘵𝘢 𝘴𝘤𝘪𝘰𝘳𝘦, 𝘧𝘭𝘶𝘮𝘦𝘯 𝘤𝘩𝘦 𝘥𝘪𝘷𝘦𝘯𝘵𝘢 𝘴𝘤𝘪𝘶𝘮𝘮𝘰.

𝘐𝘯 𝘴𝘪𝘯𝘵𝘦𝘴𝘪, 𝘭'𝘢𝘯𝘢𝘭𝘪𝘴𝘪 𝘥𝘪 𝘲𝘶𝘦𝘴𝘵𝘦 𝘷𝘰𝘤𝘪 𝘥𝘦𝘭 𝘱𝘢𝘳𝘭𝘢𝘵𝘰 𝘯𝘢𝘱𝘰𝘭𝘦𝘵𝘢𝘯𝘰 𝘤𝘪 𝘳𝘦𝘴𝘵𝘪𝘵𝘶𝘪𝘴𝘤𝘦 𝘭'𝘪𝘮𝘮𝘢𝘨𝘪𝘯𝘦 𝘥𝘪 𝘶𝘯𝘢 𝘭𝘪𝘯𝘨𝘶𝘢 𝘤𝘩𝘦 𝘧𝘶𝘯𝘻𝘪𝘰𝘯𝘢 𝘤𝘰𝘮𝘦 𝘶𝘯 𝘷𝘦𝘳𝘰 𝘦 𝘱𝘳𝘰𝘱𝘳𝘪𝘰 𝘴𝘦𝘥𝘪𝘮𝘦𝘯𝘵𝘰 𝘴𝘵𝘰𝘳𝘪𝘤𝘰 𝘦 𝘴𝘰𝘤𝘪𝘢𝘭𝘦. 𝘕𝘰𝘯 𝘴𝘪 𝘵𝘳𝘢𝘵𝘵𝘢 𝘥𝘪 𝘴𝘦𝘮𝘱𝘭𝘪𝘤𝘪 𝘤𝘶𝘳𝘪𝘰𝘴𝘪𝘵𝘢̀ 𝘧𝘰𝘭𝘤𝘭𝘰𝘳𝘪𝘴𝘵𝘪𝘤𝘩𝘦, 𝘮𝘢 𝘥𝘪 𝘴𝘵𝘳𝘶𝘵𝘵𝘶𝘳𝘦 𝘭𝘪𝘯𝘨𝘶𝘪𝘴𝘵𝘪𝘤𝘩𝘦 𝘤𝘰𝘮𝘱𝘭𝘦𝘴𝘴𝘦 𝘤𝘩𝘦, 𝘤𝘰𝘮𝘦 𝘥𝘪𝘮𝘰𝘴𝘵𝘳𝘢𝘯𝘰 𝘨𝘭𝘪 𝘦𝘴𝘦𝘮𝘱𝘪 – 𝘥𝘢𝘭𝘭𝘢 𝘵𝘳𝘢𝘱𝘱𝘰𝘭𝘢 𝘱𝘦𝘳 𝘵𝘰𝘱𝘪 𝘢𝘭𝘭𝘢 𝘳𝘪𝘤𝘦𝘳𝘤𝘢 𝘰𝘴𝘵𝘪𝘯𝘢𝘵𝘢 𝘥𝘦𝘪 𝘨𝘶𝘢𝘪 –, 𝘤𝘰𝘥𝘪𝘧𝘪𝘤𝘢𝘯𝘰 𝘭'𝘦𝘴𝘱𝘦𝘳𝘪𝘦𝘯𝘻𝘢 𝘤𝘰𝘭𝘭𝘦𝘵𝘵𝘪𝘷𝘢. 𝘖𝘨𝘯𝘪 𝘭𝘰𝘤𝘶𝘻𝘪𝘰𝘯𝘦 𝘦̀ 𝘶𝘯 𝘧𝘰𝘴𝘴𝘪𝘭𝘦 𝘤𝘩𝘦, 𝘴𝘦 𝘪𝘯𝘵𝘦𝘳𝘳𝘰𝘨𝘢𝘵𝘰 𝘤𝘰𝘯 𝘨𝘭𝘪 𝘴𝘵𝘳𝘶𝘮𝘦𝘯𝘵𝘪 𝘥𝘦𝘭𝘭𝘢 𝘭𝘦𝘴𝘴𝘪𝘤𝘰𝘨𝘳𝘢𝘧𝘪𝘢 𝘦 𝘥𝘦𝘭𝘭𝘢 𝘧𝘪𝘭𝘰𝘭𝘰𝘨𝘪𝘢, 𝘳𝘪𝘷𝘦𝘭𝘢 𝘭𝘦 𝘪𝘮𝘱𝘳𝘰𝘯𝘵𝘦 𝘥𝘦𝘪 𝘱𝘰𝘱𝘰𝘭𝘪 𝘤𝘩𝘦 𝘩𝘢𝘯𝘯𝘰 𝘢𝘵𝘵𝘳𝘢𝘷𝘦𝘳𝘴𝘢𝘵𝘰 𝘕𝘢𝘱𝘰𝘭𝘪 𝘦 𝘭'𝘪𝘯𝘵𝘦𝘭𝘭𝘪𝘨𝘦𝘯𝘻𝘢 𝘱𝘳𝘢𝘨𝘮𝘢𝘵𝘪𝘤𝘢 𝘥𝘦𝘪 𝘴𝘶𝘰𝘪 𝘢𝘣𝘪𝘵𝘢𝘯𝘵𝘪.

𝘓𝘢 𝘴𝘢𝘭𝘷𝘢𝘨𝘶𝘢𝘳𝘥𝘪𝘢 𝘥𝘪 𝘲𝘶𝘦𝘴𝘵𝘰 𝘱𝘢𝘵𝘳𝘪𝘮𝘰𝘯𝘪𝘰 𝘯𝘰𝘯 𝘦̀ 𝘶𝘯'𝘰𝘱𝘦𝘳𝘢𝘻𝘪𝘰𝘯𝘦 𝘥𝘪 𝘮𝘦𝘳𝘢 𝘯𝘰𝘴𝘵𝘢𝘭𝘨𝘪𝘢, 𝘮𝘢 𝘶𝘯 𝘢𝘵𝘵𝘰 𝘥𝘪 𝘳𝘪𝘤𝘰𝘯𝘰𝘴𝘤𝘪𝘮𝘦𝘯𝘵𝘰 𝘥𝘦𝘭 𝘴𝘶𝘰 𝘷𝘢𝘭𝘰𝘳𝘦 𝘤𝘰𝘮𝘦 𝘢𝘳𝘤𝘩𝘪𝘷𝘪𝘰 𝘷𝘪𝘷𝘦𝘯𝘵𝘦. 𝘚𝘵𝘶𝘥𝘪𝘢𝘳𝘦 𝘦 𝘷𝘢𝘭𝘰𝘳𝘪𝘻𝘻𝘢𝘳𝘦 𝘲𝘶𝘦𝘴𝘵𝘦 𝘦𝘴𝘱𝘳𝘦𝘴𝘴𝘪𝘰𝘯𝘪 𝘴𝘪𝘨𝘯𝘪𝘧𝘪𝘤𝘢 𝘮𝘢𝘯𝘵𝘦𝘯𝘦𝘳𝘦 𝘭'𝘢𝘤𝘤𝘦𝘴𝘴𝘰 𝘢 𝘶𝘯𝘢 𝘤𝘩𝘪𝘢𝘷𝘦 𝘥𝘪 𝘭𝘦𝘵𝘵𝘶𝘳𝘢 𝘧𝘰𝘯𝘥𝘢𝘮𝘦𝘯𝘵𝘢𝘭𝘦 𝘱𝘦𝘳 𝘤𝘰𝘮𝘱𝘳𝘦𝘯𝘥𝘦𝘳𝘦 𝘭𝘢 𝘱𝘳𝘰𝘧𝘰𝘯𝘥𝘪𝘵𝘢̀ 𝘴𝘵𝘰𝘳𝘪𝘤𝘢, 𝘭𝘢 𝘴𝘵𝘳𝘢𝘵𝘪𝘧𝘪𝘤𝘢𝘻𝘪𝘰𝘯𝘦 𝘤𝘶𝘭𝘵𝘶𝘳𝘢𝘭𝘦 𝘦 𝘭𝘢 𝘱𝘴𝘪𝘤𝘰𝘭𝘰𝘨𝘪𝘢 𝘤𝘰𝘭𝘭𝘦𝘵𝘵𝘪𝘷𝘢 𝘥𝘪 𝘶𝘯𝘢 𝘤𝘰𝘮𝘶𝘯𝘪𝘵𝘢̀ 𝘤𝘩𝘦 𝘩𝘢 𝘴𝘢𝘱𝘶𝘵𝘰 𝘵𝘳𝘢𝘴𝘧𝘰𝘳𝘮𝘢𝘳𝘦 𝘭'𝘶𝘴𝘰 𝘥𝘦𝘭𝘭𝘢 𝘱𝘢𝘳𝘰𝘭𝘢 𝘪𝘯 𝘶𝘯𝘰 𝘴𝘵𝘳𝘶𝘮𝘦𝘯𝘵𝘰 𝘥𝘪 𝘳𝘦𝘴𝘪𝘴𝘵𝘦𝘯𝘻𝘢 𝘦 𝘥𝘪 𝘢𝘥𝘢𝘵𝘵𝘢𝘮𝘦𝘯𝘵𝘰 𝘤𝘶𝘭𝘵𝘶𝘳𝘢𝘭𝘦.

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𝙇'𝙐𝙊𝙑𝙊 𝘾𝙃𝙀 𝙍𝘼𝘾𝘾𝙊𝙉𝙏𝘼 𝙇𝘼 𝙑𝙄𝙏𝘼

𝙎𝙩𝙤𝙧𝙞𝙚 𝙙𝙞 𝙧𝙚𝙨𝙪𝙧𝙧𝙚𝙯𝙞𝙤𝙣𝙚 𝙩𝙧𝙖 𝙞 𝙥𝙤𝙥𝙤𝙡𝙞 𝙨𝙡𝙖𝙫𝙞 𝙚 𝙞𝙡 𝙎𝙪𝙙 𝙄𝙩𝙖𝙡𝙞𝙖

#𝘾𝙤𝙡𝙡𝙚𝙩𝙩𝙞𝙫𝙤𝘿𝙞𝙎𝙘𝙧𝙞𝙩𝙩𝙪𝙧𝙖𝘼𝙡𝙪𝙣𝙣𝙞𝘿𝙚𝙡𝙏𝙚𝙢𝙥𝙤

- 𝘐𝘓 𝘉𝘈𝘔𝘉𝘐𝘕𝘖 𝘊𝘏𝘌 𝘚𝘐 𝘈𝘓𝘡𝘖̀ 𝘗𝘌𝘙 𝘜𝘕 𝘜𝘖𝘝𝘖 -𝘓𝘈 𝘝𝘖𝘊𝘌 𝘈𝘕𝘛𝘐𝘊𝘈 𝘋𝘌𝘓𝘓𝘌 𝘜𝘖𝘝𝘈 𝘋𝘌𝘊𝘖𝘙𝘈𝘛𝘌 - 𝘐𝘓 𝘚𝘖𝘙𝘉𝘖, 𝘓'𝘜𝘖𝘝𝘖 𝘌 𝘐𝘓 𝘊𝘖𝘕𝘍𝘐𝘕𝘌 𝘛𝘙𝘈 𝘐 𝘔𝘖𝘕𝘋𝘐 - 𝘘𝘜𝘌𝘓 𝘝𝘐𝘈𝘎𝘎𝘐𝘖 𝘝𝘌𝘙𝘚𝘖 𝘚𝘜𝘋 - 𝘐𝘓 𝘚𝘐𝘕𝘊𝘙𝘌𝘛𝘐𝘚𝘔𝘖 𝘊𝘏𝘌 𝘗𝘈𝘙𝘓𝘈 𝘈𝘓 𝘊𝘜𝘖𝘙𝘌 - 𝘓𝘈 𝘝𝘖𝘊𝘌 𝘋𝘌𝘐 𝘗𝘖𝘝𝘌𝘙𝘐 𝘕𝘌𝘐 𝘙𝘐𝘛𝘐 𝘋𝘐 𝘙𝘌𝘚𝘜𝘙𝘙𝘌𝘡𝘐𝘖𝘕𝘌 - 𝘊𝘐𝘖̀ 𝘊𝘏𝘌 𝘙𝘌𝘚𝘛𝘈 - 𝘕𝘖𝘛𝘌 - 𝘉𝘐𝘉𝘓𝘐𝘖𝘎𝘙𝘈𝘍𝘐𝘈 𝘌 𝘓𝘌𝘛𝘛𝘜𝘙𝘌 𝘊𝘖𝘕𝘚𝘐𝘎𝘓𝘐𝘈𝘛𝘌

𒀭 𒀭 𒀭 𒀭 𒀭 𒀭𒀭 𒀭 𒀭𒀭 𒀭 𒀭𒀭 𒀭 𒀭𒀭 𒀭 𒀭𒀭 𒀭 𒀭𒀭 𒀭 𒀭𒀭 𒀭

𝘊'𝘦̀ 𝘶𝘯'𝘪𝘮𝘮𝘢𝘨𝘪𝘯𝘦 𝘤𝘩𝘦, 𝘯𝘦𝘭 𝘚𝘶𝘥 𝘐𝘵𝘢𝘭𝘪𝘢, 𝘥𝘪𝘤𝘦 𝘵𝘶𝘵𝘵𝘰 𝘴𝘦𝘯𝘻𝘢 𝘣𝘪𝘴𝘰𝘨𝘯𝘰 𝘥𝘪 𝘱𝘢𝘳𝘰𝘭𝘦: 𝘶𝘯𝘢 𝘧𝘦𝘵𝘵𝘢 𝘥𝘪 𝘤𝘢𝘴𝘢𝘵𝘪𝘦𝘭𝘭𝘰 𝘤𝘰𝘯 𝘭'𝘶𝘰𝘷𝘰 𝘴𝘰𝘥𝘰 𝘪𝘯𝘤𝘢𝘴𝘵𝘰𝘯𝘢𝘵𝘰 𝘯𝘦𝘭𝘭𝘢 𝘤𝘰𝘳𝘰𝘯𝘢 𝘥𝘪 𝘱𝘢𝘯𝘦, 𝘤𝘰𝘮𝘦 𝘶𝘯𝘢 𝘨𝘦𝘮𝘮𝘢 𝘱𝘳𝘦𝘻𝘪𝘰𝘴𝘢. 𝘚𝘦𝘮𝘣𝘳𝘢 𝘶𝘯 𝘥𝘦𝘵𝘵𝘢𝘨𝘭𝘪𝘰 𝘥𝘢 𝘱𝘰𝘤𝘰, 𝘦𝘱𝘱𝘶𝘳𝘦 𝘲𝘶𝘦𝘭𝘭'𝘶𝘰𝘷𝘰 𝘳𝘢𝘤𝘤𝘩𝘪𝘶𝘥𝘦 𝘮𝘪𝘭𝘭𝘦𝘯𝘯𝘪 𝘥𝘪 𝘴𝘵𝘰𝘳𝘪𝘢, 𝘷𝘪𝘢𝘨𝘨𝘪𝘢𝘯𝘥𝘰 𝘥𝘢 𝘶𝘯𝘢 𝘤𝘶𝘭𝘵𝘶𝘳𝘢 𝘢𝘭𝘭'𝘢𝘭𝘵𝘳𝘢, 𝘵𝘳𝘢𝘴𝘧𝘰𝘳𝘮𝘢𝘯𝘥𝘰𝘴𝘪 𝘴𝘦𝘯𝘻𝘢 𝘮𝘢𝘪 𝘱𝘦𝘳𝘥𝘦𝘳𝘦 𝘭𝘢 𝘴𝘶𝘢 𝘷𝘰𝘤𝘦.

𝘗𝘦𝘳 𝘤𝘢𝘱𝘪𝘳𝘭𝘰, 𝘥𝘰𝘣𝘣𝘪𝘢𝘮𝘰 𝘱𝘢𝘳𝘵𝘪𝘳𝘦 𝘥𝘢 𝘭𝘰𝘯𝘵𝘢𝘯𝘰. 𝘋𝘢 𝘶𝘯 𝘣𝘢𝘮𝘣𝘪𝘯𝘰 𝘤𝘩𝘦 𝘯𝘰𝘯 𝘤𝘢𝘮𝘮𝘪𝘯𝘢𝘷𝘢, 𝘥𝘢 𝘶𝘯𝘢 𝘮𝘢𝘥𝘳𝘦 𝘤𝘩𝘦 𝘯𝘰𝘯 𝘴𝘪 𝘢𝘳𝘳𝘦𝘯𝘥𝘦𝘷𝘢, 𝘦 𝘥𝘢 𝘶𝘯 𝘮𝘪𝘳𝘢𝘤𝘰𝘭𝘰 𝘢𝘤𝘤𝘢𝘥𝘶𝘵𝘰 𝘪𝘯 𝘶𝘯 𝘮𝘢𝘳𝘵𝘦𝘥𝘪̀ 𝘥𝘪 𝘗𝘢𝘴𝘲𝘶𝘢 𝘥𝘪 𝘵𝘢𝘯𝘵𝘪 𝘴𝘦𝘤𝘰𝘭𝘪 𝘧𝘢 [1].

𝙄𝙇 𝘽𝘼𝙈𝘽𝙄𝙉𝙊 𝘾𝙃𝙀 𝙎𝙄 𝘼𝙇𝙕𝙊̀ 𝙋𝙀𝙍 𝙐𝙉 𝙐𝙊𝙑𝙊

𝘌𝘳𝘢 𝘶𝘯 𝘢𝘯𝘯𝘰 𝘪𝘮𝘱𝘳𝘦𝘤𝘪𝘴𝘢𝘵𝘰 𝘵𝘳𝘢 𝘪𝘭 1274 𝘦 𝘪𝘭 1287 – 𝘭𝘦 𝘧𝘰𝘯𝘵𝘪 𝘢𝘯𝘵𝘪𝘤𝘩𝘦 𝘭𝘪𝘵𝘪𝘨𝘢𝘯𝘰 𝘴𝘶𝘭𝘭𝘢 𝘥𝘢𝘵𝘢, 𝘮𝘢 𝘤𝘰𝘯𝘤𝘰𝘳𝘥𝘢𝘯𝘰 𝘴𝘶 𝘵𝘶𝘵𝘵𝘰 𝘪𝘭 𝘳𝘦𝘴𝘵𝘰 – 𝘲𝘶𝘢𝘯𝘥𝘰 𝘶𝘯𝘢 𝘮𝘢𝘥𝘳𝘦 𝘥𝘪𝘴𝘱𝘦𝘳𝘢𝘵𝘢 𝘪𝘯𝘵𝘳𝘢𝘱𝘳𝘦𝘴𝘦 𝘶𝘯 𝘱𝘦𝘭𝘭𝘦𝘨𝘳𝘪𝘯𝘢𝘨𝘨𝘪𝘰 𝘷𝘦𝘳𝘴𝘰 𝘛𝘳𝘻𝘦𝘣𝘯𝘪𝘤𝘢, 𝘯𝘦𝘭𝘭'𝘰𝘥𝘪𝘦𝘳𝘯𝘢 𝘗𝘰𝘭𝘰𝘯𝘪𝘢. 𝘚𝘶𝘰 𝘧𝘪𝘨𝘭𝘪𝘰, 𝘢𝘭𝘭'𝘦𝘵𝘢̀ 𝘥𝘪 𝘰𝘵𝘵𝘰 𝘢𝘯𝘯𝘪, 𝘯𝘰𝘯 𝘢𝘷𝘦𝘷𝘢 𝘮𝘢𝘪 𝘤𝘢𝘮𝘮𝘪𝘯𝘢𝘵𝘰. 𝘐𝘭 𝘵𝘦𝘮𝘱𝘰 𝘥𝘦𝘭𝘭𝘦 𝘢𝘵𝘵𝘦𝘴𝘦 𝘧𝘪𝘥𝘶𝘤𝘪𝘰𝘴𝘦 𝘦𝘳𝘢 𝘴𝘤𝘢𝘥𝘶𝘵𝘰 𝘥𝘢 𝘶𝘯 𝘱𝘦𝘻𝘻𝘰, 𝘦 𝘲𝘶𝘦𝘭𝘭𝘢 𝘥𝘰𝘯𝘯𝘢 𝘢𝘷𝘦𝘷𝘢 𝘦𝘴𝘢𝘶𝘳𝘪𝘵𝘰 𝘰𝘨𝘯𝘪 𝘴𝘱𝘦𝘳𝘢𝘯𝘻𝘢 𝘵𝘦𝘳𝘳𝘦𝘯𝘢.

𝘚𝘪 𝘳𝘪𝘷𝘰𝘭𝘴𝘦 𝘢 𝘚𝘢𝘯𝘵𝘢 𝘌𝘥𝘷𝘪𝘨𝘦 𝘥𝘪 𝘈𝘯𝘥𝘦𝘤𝘩𝘴, 𝘥𝘶𝘤𝘩𝘦𝘴𝘴𝘢 𝘥𝘪 𝘚𝘭𝘦𝘴𝘪𝘢, 𝘶𝘯𝘢 𝘧𝘪𝘨𝘶𝘳𝘢 𝘤𝘩𝘦 𝘢𝘭𝘭𝘰𝘳𝘢 𝘨𝘰𝘥𝘦𝘷𝘢 𝘥𝘪 𝘶𝘯𝘢 𝘱𝘰𝘱𝘰𝘭𝘢𝘳𝘪𝘵𝘢̀ 𝘧𝘳𝘦𝘴𝘤𝘢 𝘥𝘪 𝘤𝘢𝘯𝘰𝘯𝘪𝘻𝘻𝘢𝘻𝘪𝘰𝘯𝘦 – 𝘦𝘳𝘢 𝘴𝘵𝘢𝘵𝘢 𝘱𝘳𝘰𝘤𝘭𝘢𝘮𝘢𝘵𝘢 𝘴𝘢𝘯𝘵𝘢 𝘯𝘦𝘭 1267, 𝘢𝘱𝘱𝘦𝘯𝘢 𝘲𝘶𝘢𝘭𝘤𝘩𝘦 𝘢𝘯𝘯𝘰 𝘱𝘳𝘪𝘮𝘢 [2]. 𝘌𝘥𝘷𝘪𝘨𝘦 𝘯𝘰𝘯 𝘦𝘳𝘢 𝘭𝘢 𝘱𝘪𝘶̀ 𝘤𝘦𝘭𝘦𝘣𝘳𝘦 𝘵𝘳𝘢 𝘭𝘦 𝘴𝘢𝘯𝘵𝘦, 𝘮𝘢 𝘱𝘦𝘳 𝘲𝘶𝘦𝘭𝘭𝘢 𝘮𝘢𝘥𝘳𝘦 𝘢𝘧𝘧𝘳𝘢𝘯𝘵𝘢 𝘳𝘢𝘱𝘱𝘳𝘦𝘴𝘦𝘯𝘵𝘢𝘷𝘢 𝘭'𝘶𝘭𝘵𝘪𝘮𝘢 𝘢𝘯𝘤𝘰𝘳𝘢.

𝘐𝘭 𝘮𝘢𝘳𝘵𝘦𝘥𝘪̀ 𝘥𝘰𝘱𝘰 𝘗𝘢𝘴𝘲𝘶𝘢, 𝘪𝘯𝘨𝘪𝘯𝘰𝘤𝘤𝘩𝘪𝘢𝘵𝘢 𝘥𝘢𝘷𝘢𝘯𝘵𝘪 𝘢𝘭𝘭𝘢 𝘵𝘰𝘮𝘣𝘢 𝘥𝘦𝘭𝘭𝘢 𝘴𝘢𝘯𝘵𝘢, 𝘤𝘰𝘯 𝘪𝘭 𝘱𝘪𝘤𝘤𝘰𝘭𝘰 𝘢𝘤𝘤𝘢𝘯𝘵𝘰, 𝘱𝘳𝘦𝘨𝘰̀ 𝘪𝘯 𝘴𝘪𝘭𝘦𝘯𝘻𝘪𝘰. 𝘈𝘭 𝘵𝘦𝘳𝘮𝘪𝘯𝘦 𝘥𝘦𝘭𝘭𝘢 𝘱𝘳𝘦𝘨𝘩𝘪𝘦𝘳𝘢, 𝘪𝘭 𝘣𝘢𝘮𝘣𝘪𝘯𝘰 𝘷𝘪𝘥𝘦 𝘶𝘯 𝘶𝘰𝘷𝘰 𝘤𝘰𝘭𝘰𝘳𝘢𝘵𝘰 𝘱𝘰𝘨𝘨𝘪𝘢𝘵𝘰 𝘴𝘶𝘭 𝘴𝘦𝘱𝘰𝘭𝘤𝘳𝘰. 𝘊𝘰𝘯 𝘶𝘯 𝘴𝘰𝘳𝘳𝘪𝘴𝘰 𝘤𝘩𝘦 𝘪𝘭𝘭𝘶𝘮𝘪𝘯𝘰̀ 𝘪𝘭 𝘴𝘶𝘰 𝘷𝘪𝘴𝘦𝘵𝘵𝘰 𝘱𝘢𝘧𝘧𝘶𝘵𝘰, 𝘴𝘪 𝘢𝘭𝘻𝘰̀ 𝘥𝘢 𝘴𝘰𝘭𝘰 𝘦 𝘤𝘢𝘮𝘮𝘪𝘯𝘰̀ 𝘷𝘦𝘳𝘴𝘰 𝘲𝘶𝘦𝘭𝘭'𝘰𝘨𝘨𝘦𝘵𝘵𝘰 𝘮𝘪𝘴𝘵𝘦𝘳𝘪𝘰𝘴𝘰, 𝘭𝘰 𝘱𝘳𝘦𝘴𝘦 𝘵𝘳𝘢 𝘭𝘦 𝘮𝘢𝘯𝘪 𝘦 𝘭𝘰 𝘰𝘴𝘴𝘦𝘳𝘷𝘰̀ 𝘪𝘯𝘤𝘢𝘯𝘵𝘢𝘵𝘰, 𝘱𝘦𝘳 𝘱𝘰𝘪 𝘵𝘰𝘳𝘯𝘢𝘳𝘦 𝘢 𝘴𝘦𝘥𝘦𝘳𝘴𝘪 𝘢𝘤𝘤𝘢𝘯𝘵𝘰 𝘢𝘭𝘭𝘢 𝘮𝘢𝘥𝘳𝘦 𝘪𝘯𝘤𝘳𝘦𝘥𝘶𝘭𝘢 [3].

𝘓𝘢 𝘣𝘢𝘥𝘦𝘴𝘴𝘢 𝘥𝘦𝘭 𝘮𝘰𝘯𝘢𝘴𝘵𝘦𝘳𝘰, 𝘥𝘰𝘯𝘯𝘢 𝘱𝘳𝘢𝘵𝘪𝘤𝘢, 𝘯𝘰𝘯 𝘴𝘪 𝘭𝘢𝘴𝘤𝘪𝘰̀ 𝘤𝘰𝘮𝘮𝘶𝘰𝘷𝘦𝘳𝘦 𝘵𝘳𝘰𝘱𝘱𝘰. 𝘗𝘳𝘦𝘴𝘦 𝘶𝘯 𝘢𝘭𝘵𝘳𝘰 𝘶𝘰𝘷𝘰 𝘦 𝘭𝘰 𝘧𝘦𝘤𝘦 𝘳𝘰𝘵𝘰𝘭𝘢𝘳𝘦 𝘱𝘪𝘶̀ 𝘪𝘯 𝘭𝘢̀. "𝘚𝘦 𝘭𝘰 𝘷𝘶𝘰𝘪, 𝘷𝘪𝘦𝘯𝘪 𝘢 𝘱𝘳𝘦𝘯𝘥𝘦𝘳𝘭𝘰". 𝘐𝘭 𝘣𝘪𝘮𝘣𝘰 𝘴𝘪 𝘳𝘪𝘢𝘭𝘻𝘰̀ 𝘦 𝘵𝘳𝘰𝘵𝘵𝘦𝘳𝘦𝘭𝘭𝘰̀. 𝘜𝘯 𝘢𝘭𝘵𝘳𝘰 𝘢𝘯𝘤𝘰𝘳𝘢, 𝘭𝘢𝘯𝘤𝘪𝘢𝘵𝘰 𝘭𝘰𝘯𝘵𝘢𝘯𝘰, 𝘦 𝘪𝘭 𝘱𝘪𝘤𝘤𝘰𝘭𝘰 𝘤𝘰𝘳𝘴𝘦 𝘢 𝘳𝘦𝘤𝘶𝘱𝘦𝘳𝘢𝘳𝘭𝘰, 𝘤𝘰𝘯 𝘭𝘢 𝘮𝘢𝘥𝘳𝘦 𝘰𝘳𝘮𝘢𝘪 𝘪𝘯 𝘭𝘢𝘤𝘳𝘪𝘮𝘦 𝘵𝘳𝘢 𝘴𝘪𝘯𝘨𝘩𝘪𝘰𝘻𝘻𝘪 𝘥𝘪 𝘨𝘳𝘢𝘵𝘪𝘵𝘶𝘥𝘪𝘯𝘦.

𝙇𝘼 𝙑𝙊𝘾𝙀 𝘼𝙉𝙏𝙄𝘾𝘼 𝘿𝙀𝙇𝙇𝙀 𝙐𝙊𝙑𝘼 𝘿𝙀𝘾𝙊𝙍𝘼𝙏𝙀

𝘘𝘶𝘦𝘭 𝘳𝘢𝘤𝘤𝘰𝘯𝘵𝘰, 𝘤𝘰𝘯𝘵𝘦𝘯𝘶𝘵𝘰 𝘯𝘦𝘭𝘭𝘢 𝘝𝘪𝘵𝘢 𝘥𝘪 𝘚𝘢𝘯𝘵𝘢 𝘌𝘥𝘷𝘪𝘨𝘦 𝘴𝘤𝘳𝘪𝘵𝘵𝘢 𝘢𝘭𝘭𝘢 𝘧𝘪𝘯𝘦 𝘥𝘦𝘭 𝘋𝘶𝘦𝘤𝘦𝘯𝘵𝘰, 𝘦̀ 𝘱𝘳𝘦𝘻𝘪𝘰𝘴𝘰 𝘱𝘦𝘳 𝘢𝘭𝘮𝘦𝘯𝘰 𝘥𝘶𝘦 𝘳𝘢𝘨𝘪𝘰𝘯𝘪. 𝘓𝘢 𝘱𝘳𝘪𝘮𝘢, 𝘰𝘷𝘷𝘪𝘢, 𝘦̀ 𝘪𝘭 𝘮𝘪𝘳𝘢𝘤𝘰𝘭𝘰. 𝘓𝘢 𝘴𝘦𝘤𝘰𝘯𝘥𝘢, 𝘱𝘪𝘶̀ 𝘴𝘰𝘵𝘵𝘪𝘭𝘦 𝘮𝘢 𝘧𝘰𝘳𝘴𝘦 𝘱𝘪𝘶̀ 𝘱𝘳𝘰𝘧𝘰𝘯𝘥𝘢, 𝘦̀ 𝘭𝘢 𝘱𝘳𝘦𝘴𝘦𝘯𝘻𝘢 𝘥𝘪 𝘲𝘶𝘦𝘭𝘭𝘦 𝘶𝘰𝘷𝘢 𝘤𝘰𝘭𝘰𝘳𝘢𝘵𝘦 𝘴𝘶𝘭𝘭𝘢 𝘵𝘰𝘮𝘣𝘢 𝘥𝘪 𝘶𝘯𝘢 𝘴𝘢𝘯𝘵𝘢, 𝘥𝘶𝘦 𝘨𝘪𝘰𝘳𝘯𝘪 𝘥𝘰𝘱𝘰 𝘭𝘢 𝘥𝘰𝘮𝘦𝘯𝘪𝘤𝘢 𝘥𝘪 𝘙𝘦𝘴𝘶𝘳𝘳𝘦𝘻𝘪𝘰𝘯𝘦.

𝘕𝘰𝘯 𝘦𝘳𝘢𝘯𝘰 𝘭𝘪̀ 𝘱𝘦𝘳 𝘤𝘢𝘴𝘰. 𝘐𝘯 𝘲𝘶𝘦𝘭𝘭𝘢 𝘳𝘦𝘨𝘪𝘰𝘯𝘦, 𝘵𝘳𝘢 𝘪 𝘱𝘰𝘱𝘰𝘭𝘪 𝘴𝘭𝘢𝘷𝘪, 𝘦𝘴𝘪𝘴𝘵𝘦𝘷𝘢 𝘥𝘢 𝘴𝘦𝘤𝘰𝘭𝘪 𝘶𝘯𝘢 𝘵𝘳𝘢𝘥𝘪𝘻𝘪𝘰𝘯𝘦 𝘤𝘩𝘦 𝘭𝘦𝘨𝘢𝘷𝘢 𝘭𝘦 𝘶𝘰𝘷𝘢 𝘥𝘦𝘤𝘰𝘳𝘢𝘵𝘦 𝘢𝘭 𝘤𝘶𝘭𝘵𝘰 𝘥𝘦𝘪 𝘥𝘦𝘧𝘶𝘯𝘵𝘪 𝘦 𝘢𝘭𝘭𝘢 𝘳𝘪𝘯𝘢𝘴𝘤𝘪𝘵𝘢 𝘱𝘳𝘪𝘮𝘢𝘷𝘦𝘳𝘪𝘭𝘦. 𝘓𝘦 𝘶𝘰𝘷𝘢 𝘯𝘰𝘯 𝘦𝘳𝘢𝘯𝘰 𝘶𝘯 𝘴𝘦𝘮𝘱𝘭𝘪𝘤𝘦 𝘰𝘳𝘯𝘢𝘮𝘦𝘯𝘵𝘰: 𝘦𝘳𝘢𝘯𝘰 𝘶𝘯 𝘮𝘦𝘴𝘴𝘢𝘨𝘨𝘪𝘰, 𝘶𝘯 𝘱𝘰𝘯𝘵𝘦 𝘵𝘳𝘢 𝘪 𝘷𝘪𝘷𝘪 𝘦 𝘪 𝘮𝘰𝘳𝘵𝘪, 𝘶𝘯 𝘢𝘶𝘨𝘶𝘳𝘪𝘰 𝘤𝘩𝘦 𝘭𝘢 𝘵𝘦𝘳𝘳𝘢 𝘵𝘰𝘳𝘯𝘢𝘴𝘴𝘦 𝘢 𝘨𝘦𝘳𝘮𝘰𝘨𝘭𝘪𝘢𝘳𝘦 [4].

𝘚𝘰𝘱𝘩𝘪𝘦 𝘏𝘰𝘥𝘰𝘳𝘰𝘸𝘪𝘤𝘻 𝘒𝘯𝘢𝘣, 𝘯𝘦𝘭 𝘴𝘶𝘰 𝘧𝘰𝘯𝘥𝘢𝘮𝘦𝘯𝘵𝘢𝘭𝘦 𝘴𝘵𝘶𝘥𝘪𝘰 𝘗𝘰𝘭𝘪𝘴𝘩 𝘊𝘶𝘴𝘵𝘰𝘮𝘴, 𝘛𝘳𝘢𝘥𝘪𝘵𝘪𝘰𝘯𝘴 & 𝘍𝘰𝘭𝘬𝘭𝘰𝘳𝘦, 𝘴𝘱𝘪𝘦𝘨𝘢 𝘤𝘩𝘦 𝘱𝘦𝘳 𝘭𝘦 𝘱𝘰𝘱𝘰𝘭𝘢𝘻𝘪𝘰𝘯𝘪 𝘴𝘭𝘢𝘷𝘦 𝘱𝘳𝘦𝘤𝘳𝘪𝘴𝘵𝘪𝘢𝘯𝘦 «𝘭𝘢 𝘷𝘪𝘵𝘢 𝘦 𝘭𝘢 𝘮𝘰𝘳𝘵𝘦 𝘯𝘰𝘯 𝘦𝘳𝘢𝘯𝘰 𝘦𝘯𝘵𝘪𝘵𝘢̀ 𝘴𝘦𝘱𝘢𝘳𝘢𝘵𝘦, 𝘮𝘢 𝘥𝘶𝘦 𝘮𝘰𝘮𝘦𝘯𝘵𝘪 𝘥𝘪 𝘶𝘯 𝘤𝘪𝘤𝘭𝘰 𝘤𝘰𝘯𝘵𝘪𝘯𝘶𝘰 𝘤𝘩𝘦 𝘴𝘪 𝘪𝘯𝘵𝘳𝘦𝘤𝘤𝘪𝘢𝘷𝘢 𝘤𝘰𝘯 𝘭'𝘢𝘯𝘯𝘰 𝘢𝘨𝘳𝘢𝘳𝘪𝘰. 𝘐 𝘮𝘰𝘳𝘵𝘪, 𝘴𝘰𝘵𝘵𝘰 𝘵𝘦𝘳𝘳𝘢, 𝘧𝘢𝘤𝘦𝘷𝘢𝘯𝘰 𝘭𝘢 𝘨𝘶𝘢𝘳𝘥𝘪𝘢 𝘢𝘪 𝘴𝘦𝘮𝘪 𝘱𝘦𝘳𝘮𝘦𝘵𝘵𝘦𝘯𝘥𝘰 𝘭𝘰𝘳𝘰 𝘥𝘪 𝘨𝘦𝘳𝘮𝘰𝘨𝘭𝘪𝘢𝘳𝘦. 𝘖𝘯𝘰𝘳𝘢𝘳𝘭𝘪 𝘴𝘪𝘨𝘯𝘪𝘧𝘪𝘤𝘢𝘷𝘢 𝘨𝘢𝘳𝘢𝘯𝘵𝘪𝘳𝘴𝘪 𝘶𝘯 𝘳𝘢𝘤𝘤𝘰𝘭𝘵𝘰 𝘢𝘣𝘣𝘰𝘯𝘥𝘢𝘯𝘵𝘦» [5].

𝘋𝘶𝘦 𝘷𝘰𝘭𝘵𝘦 𝘢𝘭𝘭'𝘢𝘯𝘯𝘰, 𝘪𝘯 𝘢𝘶𝘵𝘶𝘯𝘯𝘰 𝘦 𝘪𝘯 𝘱𝘳𝘪𝘮𝘢𝘷𝘦𝘳𝘢, 𝘭𝘦 𝘧𝘢𝘮𝘪𝘨𝘭𝘪𝘦 𝘱𝘰𝘳𝘵𝘢𝘷𝘢𝘯𝘰 𝘤𝘪𝘣𝘰 𝘦 𝘣𝘦𝘷𝘢𝘯𝘥𝘦 𝘴𝘶𝘭𝘭𝘦 𝘵𝘰𝘮𝘣𝘦. 𝘌 𝘵𝘳𝘢 𝘭𝘦 𝘰𝘧𝘧𝘦𝘳𝘵𝘦, 𝘭𝘦 𝘶𝘰𝘷𝘢 𝘤𝘰𝘭𝘰𝘳𝘢𝘵𝘦 𝘢𝘷𝘦𝘷𝘢𝘯𝘰 𝘶𝘯 𝘱𝘰𝘴𝘵𝘰 𝘥'𝘰𝘯𝘰𝘳𝘦. 𝘚𝘪𝘮𝘣𝘰𝘭𝘦𝘨𝘨𝘪𝘢𝘷𝘢𝘯𝘰 𝘭𝘢 𝘷𝘪𝘵𝘢 𝘤𝘩𝘦 𝘷𝘪𝘯𝘤𝘦 𝘭𝘢 𝘮𝘰𝘳𝘵𝘦, 𝘱𝘳𝘰𝘱𝘳𝘪𝘰 𝘤𝘰𝘮𝘦 𝘪 𝘴𝘦𝘮𝘪 𝘤𝘩𝘦 𝘳𝘰𝘮𝘱𝘰𝘯𝘰 𝘭𝘢 𝘵𝘦𝘳𝘳𝘢.

𝘘𝘶𝘢𝘯𝘥𝘰 𝘪𝘭 𝘤𝘳𝘪𝘴𝘵𝘪𝘢𝘯𝘦𝘴𝘪𝘮𝘰 𝘢𝘳𝘳𝘪𝘷𝘰̀ 𝘪𝘯 𝘲𝘶𝘦𝘭𝘭𝘦 𝘵𝘦𝘳𝘳𝘦, 𝘭𝘢 𝘧𝘦𝘥𝘦 𝘤𝘢𝘮𝘣𝘪𝘰̀, 𝘮𝘢 𝘪 𝘨𝘦𝘴𝘵𝘪 𝘯𝘰. 𝘐 𝘤𝘰𝘯𝘵𝘢𝘥𝘪𝘯𝘪 𝘱𝘰𝘭𝘢𝘤𝘤𝘩𝘪 𝘤𝘰𝘯𝘵𝘪𝘯𝘶𝘢𝘳𝘰𝘯𝘰 𝘢 𝘤𝘰𝘭𝘰𝘳𝘢𝘳𝘦 𝘭𝘦 𝘶𝘰𝘷𝘢 𝘦 𝘢 𝘱𝘰𝘳𝘵𝘢𝘳𝘭𝘦 𝘢𝘪 𝘥𝘦𝘧𝘶𝘯𝘵𝘪, 𝘴𝘦𝘮𝘱𝘭𝘪𝘤𝘦𝘮𝘦𝘯𝘵𝘦 𝘢𝘵𝘵𝘳𝘪𝘣𝘶𝘦𝘯𝘥𝘰 𝘭𝘰𝘳𝘰 𝘶𝘯 𝘴𝘪𝘨𝘯𝘪𝘧𝘪𝘤𝘢𝘵𝘰 𝘯𝘶𝘰𝘷𝘰. 𝘓𝘦 𝘶𝘰𝘷𝘢 𝘥𝘪𝘷𝘦𝘯𝘯𝘦𝘳𝘰 𝘴𝘪𝘮𝘣𝘰𝘭𝘰 𝘥𝘦𝘭 𝘴𝘦𝘱𝘰𝘭𝘤𝘳𝘰 𝘷𝘶𝘰𝘵𝘰, 𝘥𝘦𝘭𝘭𝘢 𝘷𝘪𝘵𝘢 𝘯𝘶𝘰𝘷𝘢 𝘥𝘪 𝘊𝘳𝘪𝘴𝘵𝘰, 𝘥𝘦𝘭𝘭𝘢 𝘳𝘦𝘴𝘶𝘳𝘳𝘦𝘻𝘪𝘰𝘯𝘦 𝘱𝘳𝘰𝘮𝘦𝘴𝘴𝘢 𝘢 𝘵𝘶𝘵𝘵𝘪 [6].

𝘎𝘭𝘪 𝘢𝘳𝘤𝘩𝘦𝘰𝘭𝘰𝘨𝘪 𝘩𝘢𝘯𝘯𝘰 𝘵𝘳𝘰𝘷𝘢𝘵𝘰 𝘤𝘰𝘯𝘧𝘦𝘳𝘮𝘦 𝘴𝘰𝘳𝘱𝘳𝘦𝘯𝘥𝘦𝘯𝘵𝘪 𝘥𝘪 𝘲𝘶𝘦𝘴𝘵𝘢 𝘤𝘰𝘯𝘵𝘪𝘯𝘶𝘪𝘵𝘢̀. 𝘕𝘦𝘭 𝘷𝘪𝘭𝘭𝘢𝘨𝘨𝘪𝘰 𝘥𝘪 𝘖𝘴𝘵𝘳𝘰́𝘸𝘦𝘬, 𝘴𝘶𝘭𝘭'𝘪𝘴𝘰𝘭𝘢 𝘗𝘢𝘴𝘪𝘦𝘬𝘢, 𝘴𝘰𝘯𝘰 𝘷𝘦𝘯𝘶𝘵𝘦 𝘢𝘭𝘭𝘢 𝘭𝘶𝘤𝘦 𝘴𝘦𝘵𝘵𝘦 𝘶𝘰𝘷𝘢 𝘥𝘪 𝘱𝘪𝘦𝘵𝘳𝘢 𝘴𝘤𝘰𝘭𝘱𝘪𝘵𝘦 𝘤𝘰𝘯 𝘨𝘭𝘪 𝘴𝘵𝘦𝘴𝘴𝘪 𝘮𝘰𝘵𝘪𝘷𝘪 𝘥𝘦𝘤𝘰𝘳𝘢𝘵𝘪𝘷𝘪 𝘤𝘩𝘦 𝘢𝘯𝘤𝘰𝘳𝘢 𝘰𝘨𝘨𝘪 𝘴𝘪 𝘷𝘦𝘥𝘰𝘯𝘰 𝘴𝘶𝘭𝘭𝘦 𝘶𝘰𝘷𝘢 𝘱𝘢𝘴𝘲𝘶𝘢𝘭𝘪 𝘴𝘭𝘢𝘷𝘦. 𝘌𝘳𝘢𝘯𝘰 𝘥𝘦𝘱𝘰𝘴𝘵𝘦 𝘪𝘯 𝘴𝘦𝘱𝘰𝘭𝘵𝘶𝘳𝘦 𝘵𝘳𝘢 𝘪𝘭 𝘟 𝘦 𝘪𝘭 𝘟𝘐𝘐𝘐 𝘴𝘦𝘤𝘰𝘭𝘰. 𝘋𝘪𝘧𝘧𝘪𝘤𝘪𝘭𝘦 𝘱𝘦𝘯𝘴𝘢𝘳𝘦 𝘤𝘩𝘦 𝘧𝘰𝘴𝘴𝘦𝘳𝘰 𝘭𝘪̀ 𝘱𝘦𝘳 𝘤𝘢𝘴𝘰 [7].

𝙄𝙇 𝙎𝙊𝙍𝘽𝙊, 𝙇'𝙐𝙊𝙑𝙊 𝙀 𝙄𝙇 𝘾𝙊𝙉𝙁𝙄𝙉𝙀 𝙏𝙍𝘼 𝙄 𝙈𝙊𝙉𝘿𝙄

𝘈 𝘵𝘦𝘴𝘵𝘪𝘮𝘰𝘯𝘪𝘢𝘳𝘦 𝘲𝘶𝘢𝘯𝘵𝘰 𝘲𝘶𝘦𝘴𝘵𝘢 𝘵𝘳𝘢𝘥𝘪𝘻𝘪𝘰𝘯𝘦 𝘧𝘰𝘴𝘴𝘦 𝘳𝘢𝘥𝘪𝘤𝘢𝘵𝘢, 𝘤𝘪 𝘴𝘰𝘯𝘰 𝘢𝘯𝘤𝘰𝘳𝘢 𝘰𝘨𝘨𝘪 𝘪 𝘚𝘰𝘳𝘣𝘪, 𝘶𝘯𝘢 𝘮𝘪𝘯𝘰𝘳𝘢𝘯𝘻𝘢 𝘴𝘭𝘢𝘷𝘢 𝘤𝘩𝘦 𝘷𝘪𝘷𝘦 𝘪𝘯 𝘚𝘢𝘴𝘴𝘰𝘯𝘪𝘢, 𝘯𝘦𝘭𝘭'𝘈𝘭𝘵𝘢 𝘓𝘶𝘴𝘢𝘻𝘪𝘢. 𝘋𝘢 𝘴𝘦𝘤𝘰𝘭𝘪, 𝘯𝘰𝘯𝘰𝘴𝘵𝘢𝘯𝘵𝘦 𝘭𝘢 𝘱𝘳𝘦𝘴𝘴𝘪𝘰𝘯𝘦 𝘥𝘦𝘭𝘭𝘢 𝘤𝘶𝘭𝘵𝘶𝘳𝘢 𝘵𝘦𝘥𝘦𝘴𝘤𝘢 𝘥𝘰𝘮𝘪𝘯𝘢𝘯𝘵𝘦, 𝘪 𝘚𝘰𝘳𝘣𝘪 𝘤𝘰𝘯𝘵𝘪𝘯𝘶𝘢𝘯𝘰 𝘢 𝘥𝘦𝘤𝘰𝘳𝘢𝘳𝘦 𝘭𝘦 𝘶𝘰𝘷𝘢 𝘤𝘰𝘯 𝘭𝘢 𝘵𝘦𝘤𝘯𝘪𝘤𝘢 𝘥𝘦𝘭𝘭𝘢 𝘳𝘪𝘴𝘦𝘳𝘷𝘢 𝘥𝘪 𝘤𝘦𝘳𝘢, 𝘤𝘳𝘦𝘢𝘯𝘥𝘰 𝘮𝘰𝘵𝘪𝘷𝘪 𝘨𝘦𝘰𝘮𝘦𝘵𝘳𝘪𝘤𝘪 𝘦 𝘧𝘭𝘰𝘳𝘦𝘢𝘭𝘪 𝘥𝘪 𝘶𝘯𝘢 𝘱𝘳𝘦𝘤𝘪𝘴𝘪𝘰𝘯𝘦 𝘴𝘵𝘳𝘢𝘰𝘳𝘥𝘪𝘯𝘢𝘳𝘪𝘢. 𝘐 𝘭𝘰𝘳𝘰 𝘥𝘪𝘴𝘦𝘨𝘯𝘪 𝘯𝘰𝘯 𝘴𝘰𝘯𝘰 𝘮𝘢𝘪 𝘤𝘢𝘴𝘶𝘢𝘭𝘪: 𝘴𝘱𝘪𝘳𝘢𝘭𝘪, 𝘴𝘰𝘭𝘪, 𝘴𝘪𝘮𝘣𝘰𝘭𝘪 𝘥𝘦𝘭𝘭𝘢 𝘯𝘢𝘵𝘶𝘳𝘢 𝘴𝘪 𝘳𝘪𝘱𝘦𝘵𝘰𝘯𝘰 𝘤𝘰𝘮𝘦 𝘶𝘯 𝘢𝘭𝘧𝘢𝘣𝘦𝘵𝘰 𝘴𝘢𝘤𝘳𝘰 𝘤𝘩𝘦 𝘱𝘢𝘳𝘭𝘢 𝘥𝘪 𝘧𝘦𝘳𝘵𝘪𝘭𝘪𝘵𝘢̀, 𝘳𝘪𝘯𝘢𝘴𝘤𝘪𝘵𝘢, 𝘱𝘳𝘰𝘵𝘦𝘻𝘪𝘰𝘯𝘦 [8].

𝘈𝘯𝘤𝘰𝘳𝘢 𝘰𝘨𝘨𝘪, 𝘥𝘶𝘳𝘢𝘯𝘵𝘦 𝘭𝘦 𝘱𝘳𝘰𝘤𝘦𝘴𝘴𝘪𝘰𝘯𝘪 𝘦𝘲𝘶𝘦𝘴𝘵𝘳𝘪 𝘥𝘪 𝘗𝘢𝘴𝘲𝘶𝘢 – 𝘶𝘯'𝘢𝘭𝘵𝘳𝘢 𝘵𝘳𝘢𝘥𝘪𝘻𝘪𝘰𝘯𝘦 𝘢𝘯𝘵𝘪𝘤𝘩𝘪𝘴𝘴𝘪𝘮𝘢 𝘤𝘩𝘦 𝘧𝘰𝘳𝘴𝘦 𝘢𝘧𝘧𝘰𝘯𝘥𝘢 𝘭𝘦 𝘳𝘢𝘥𝘪𝘤𝘪 𝘯𝘦𝘭𝘭𝘦 𝘢𝘯𝘵𝘪𝘤𝘩𝘦 "𝘤𝘢𝘷𝘢𝘭𝘤𝘢𝘵𝘦 𝘥𝘦𝘪 𝘤𝘢𝘮𝘱𝘪" 𝘱𝘦𝘳 𝘱𝘳𝘰𝘵𝘦𝘨𝘨𝘦𝘳𝘦 𝘪𝘭 𝘳𝘢𝘤𝘤𝘰𝘭𝘵𝘰 – 𝘪 𝘤𝘢𝘷𝘢𝘭𝘪𝘦𝘳𝘪 𝘴𝘰𝘳𝘣𝘪 𝘪𝘯𝘥𝘰𝘴𝘴𝘢𝘯𝘰 𝘤𝘪𝘭𝘪𝘯𝘥𝘳𝘪 𝘦 𝘳𝘦𝘥𝘪𝘯𝘨𝘰𝘵𝘦 𝘯𝘦𝘳𝘦, 𝘦 𝘱𝘰𝘳𝘵𝘢𝘯𝘰 𝘪𝘯 𝘨𝘪𝘳𝘰 𝘱𝘦𝘳 𝘭𝘦 𝘤𝘢𝘮𝘱𝘢𝘨𝘯𝘦 𝘭𝘢 𝘯𝘰𝘵𝘪𝘻𝘪𝘢 𝘥𝘦𝘭𝘭𝘢 𝘳𝘦𝘴𝘶𝘳𝘳𝘦𝘻𝘪𝘰𝘯𝘦, 𝘣𝘦𝘯𝘦𝘥𝘪𝘤𝘦𝘯𝘥𝘰 𝘪 𝘵𝘦𝘳𝘳𝘪𝘵𝘰𝘳𝘪 𝘤𝘩𝘦 𝘶𝘯 𝘵𝘦𝘮𝘱𝘰 𝘪 𝘭𝘰𝘳𝘰 𝘢𝘯𝘵𝘦𝘯𝘢𝘵𝘪 𝘢𝘧𝘧𝘪𝘥𝘢𝘷𝘢𝘯𝘰 𝘢𝘨𝘭𝘪 𝘴𝘱𝘪𝘳𝘪𝘵𝘪 𝘥𝘦𝘭𝘭𝘢 𝘵𝘦𝘳𝘳𝘢 [9].

𝘘𝘜𝘌𝘓 𝘝𝘐𝘈𝘎𝘎𝘐𝘖 𝘝𝘌𝘙𝘚𝘖 𝘚𝘜𝘋

𝘖𝘳𝘢, 𝘱𝘳𝘰𝘷𝘪𝘢𝘮𝘰 𝘢 𝘧𝘢𝘳𝘦 𝘶𝘯 𝘴𝘢𝘭𝘵𝘰. 𝘋𝘢𝘭 𝘕𝘰𝘳𝘥 𝘥𝘦𝘭𝘭'𝘌𝘶𝘳𝘰𝘱𝘢 𝘴𝘤𝘦𝘯𝘥𝘪𝘢𝘮𝘰 𝘷𝘦𝘳𝘴𝘰 𝘪𝘭 𝘔𝘦𝘥𝘪𝘵𝘦𝘳𝘳𝘢𝘯𝘦𝘰, 𝘧𝘪𝘯𝘰 𝘢 𝘕𝘢𝘱𝘰𝘭𝘪 𝘦 𝘢𝘭 𝘚𝘶𝘥 𝘐𝘵𝘢𝘭𝘪𝘢. 𝘘𝘶𝘪 𝘭𝘦 𝘶𝘰𝘷𝘢 𝘩𝘢𝘯𝘯𝘰 𝘶𝘯'𝘢𝘭𝘵𝘳𝘢 𝘷𝘰𝘤𝘦, 𝘮𝘢 𝘳𝘢𝘤𝘤𝘰𝘯𝘵𝘢𝘯𝘰 𝘴𝘵𝘰𝘳𝘪𝘦 𝘴𝘰𝘳𝘱𝘳𝘦𝘯𝘥𝘦𝘯𝘵𝘦𝘮𝘦𝘯𝘵𝘦 𝘴𝘪𝘮𝘪𝘭𝘪.

𝘗𝘦𝘯𝘴𝘢𝘵𝘦 𝘢𝘭 𝘤𝘢𝘴𝘢𝘵𝘪𝘦𝘭𝘭𝘰 𝘯𝘢𝘱𝘰𝘭𝘦𝘵𝘢𝘯𝘰. 𝘘𝘶𝘦𝘭𝘭𝘢 𝘤𝘰𝘳𝘰𝘯𝘢 𝘥𝘪 𝘱𝘢𝘯𝘦 𝘴𝘰𝘧𝘧𝘪𝘤𝘦, 𝘤𝘰𝘯 𝘪 𝘱𝘦𝘻𝘻𝘦𝘵𝘵𝘪 𝘥𝘪 𝘴𝘵𝘳𝘶𝘵𝘵𝘰, 𝘴𝘢𝘭𝘢𝘮𝘦 𝘦 𝘧𝘰𝘳𝘮𝘢𝘨𝘨𝘪𝘰, 𝘦 𝘭𝘦 𝘶𝘰𝘷𝘢 𝘴𝘰𝘥𝘦 𝘪𝘯𝘤𝘢𝘴𝘵𝘰𝘯𝘢𝘵𝘦 𝘯𝘦𝘭𝘭𝘢 𝘤𝘳𝘰𝘴𝘵𝘢 𝘤𝘰𝘮𝘦 𝘨𝘦𝘮𝘮𝘦 𝘱𝘳𝘦𝘻𝘪𝘰𝘴𝘦. 𝘕𝘰𝘯 𝘦̀ 𝘴𝘰𝘭𝘰 𝘶𝘯 𝘱𝘳𝘰𝘥𝘰𝘵𝘵𝘰 𝘥𝘦𝘭𝘭𝘢 𝘧𝘢𝘯𝘵𝘢𝘴𝘪𝘢 𝘤𝘶𝘭𝘪𝘯𝘢𝘳𝘪𝘢 𝘱𝘢𝘳𝘵𝘦𝘯𝘰𝘱𝘦𝘢. 𝘌̀ 𝘶𝘯 𝘴𝘪𝘮𝘣𝘰𝘭𝘰 𝘤𝘩𝘦 𝘱𝘢𝘳𝘭𝘢 𝘥𝘪 𝘳𝘦𝘴𝘶𝘳𝘳𝘦𝘻𝘪𝘰𝘯𝘦, 𝘥𝘪 𝘤𝘪𝘤𝘭𝘰 𝘥𝘦𝘭𝘭𝘢 𝘷𝘪𝘵𝘢, 𝘥𝘪 𝘢𝘣𝘣𝘰𝘯𝘥𝘢𝘯𝘻𝘢 𝘤𝘩𝘦 𝘴𝘪 𝘳𝘪𝘯𝘯𝘰𝘷𝘢 [10].

𝘓𝘢 𝘧𝘰𝘳𝘮𝘢 𝘤𝘪𝘳𝘤𝘰𝘭𝘢𝘳𝘦 𝘳𝘪𝘤𝘩𝘪𝘢𝘮𝘢 𝘭𝘢 𝘤𝘰𝘳𝘰𝘯𝘢 𝘥𝘪 𝘴𝘱𝘪𝘯𝘦, 𝘮𝘢 𝘢𝘯𝘤𝘩𝘦 𝘭'𝘦𝘵𝘦𝘳𝘯𝘰 𝘳𝘪𝘵𝘰𝘳𝘯𝘰 𝘥𝘦𝘭𝘭𝘦 𝘴𝘵𝘢𝘨𝘪𝘰𝘯𝘪. 𝘓𝘦 𝘶𝘰𝘷𝘢, 𝘪𝘯𝘧𝘪𝘭𝘢𝘵𝘦 𝘯𝘦𝘭𝘭𝘢 𝘱𝘢𝘴𝘵𝘢 𝘱𝘳𝘪𝘮𝘢 𝘥𝘪 𝘪𝘯𝘧𝘰𝘳𝘯𝘢𝘳𝘦, 𝘴𝘰𝘯𝘰 𝘭𝘢 𝘱𝘳𝘰𝘮𝘦𝘴𝘴𝘢 𝘤𝘩𝘦 𝘭𝘢 𝘷𝘪𝘵𝘢 𝘤𝘰𝘯𝘵𝘪𝘯𝘶𝘢. 𝘚𝘪 𝘮𝘢𝘯𝘨𝘪𝘢𝘯𝘰 𝘪𝘭 𝘨𝘪𝘰𝘳𝘯𝘰 𝘥𝘪 𝘗𝘢𝘴𝘲𝘶𝘢, 𝘥𝘰𝘱𝘰 𝘲𝘶𝘢𝘳𝘢𝘯𝘵𝘢 𝘨𝘪𝘰𝘳𝘯𝘪 𝘥𝘪 𝘥𝘪𝘨𝘪𝘶𝘯𝘰 𝘲𝘶𝘢𝘳𝘦𝘴𝘪𝘮𝘢𝘭𝘦, 𝘤𝘰𝘮𝘦 𝘴𝘦𝘨𝘯𝘰 𝘤𝘩𝘦 𝘪𝘭 𝘵𝘦𝘮𝘱𝘰 𝘥𝘦𝘭 𝘭𝘶𝘵𝘵𝘰 𝘦̀ 𝘧𝘪𝘯𝘪𝘵𝘰 𝘦 𝘲𝘶𝘦𝘭𝘭𝘰 𝘥𝘦𝘭𝘭𝘢 𝘧𝘦𝘴𝘵𝘢 𝘦̀ 𝘳𝘪𝘤𝘰𝘮𝘪𝘯𝘤𝘪𝘢𝘵𝘰.

𝘌 𝘤𝘩𝘦 𝘥𝘪𝘳𝘦 𝘥𝘦𝘭𝘭𝘦 𝘶𝘰𝘷𝘢 𝘣𝘦𝘯𝘦𝘥𝘦𝘵𝘵𝘦 𝘪𝘯 𝘤𝘩𝘪𝘦𝘴𝘢 𝘪𝘭 𝘴𝘢𝘣𝘢𝘵𝘰 𝘴𝘢𝘯𝘵𝘰? 𝘐𝘯 𝘮𝘰𝘭𝘵𝘪 𝘱𝘢𝘦𝘴𝘪 𝘥𝘦𝘭 𝘚𝘶𝘥, 𝘭𝘦 𝘧𝘢𝘮𝘪𝘨𝘭𝘪𝘦 𝘱𝘰𝘳𝘵𝘢𝘯𝘰 𝘢𝘯𝘤𝘰𝘳𝘢 𝘰𝘨𝘨𝘪 𝘤𝘦𝘴𝘵𝘪 𝘤𝘰𝘯 𝘶𝘰𝘷𝘢 𝘴𝘰𝘥𝘦, 𝘱𝘢𝘯𝘦 𝘦 𝘢𝘭𝘵𝘳𝘪 𝘴𝘪𝘮𝘣𝘰𝘭𝘪 𝘱𝘢𝘴𝘲𝘶𝘢𝘭𝘪 𝘱𝘦𝘳 𝘳𝘪𝘤𝘦𝘷𝘦𝘳𝘦 𝘭𝘢 𝘣𝘦𝘯𝘦𝘥𝘪𝘻𝘪𝘰𝘯𝘦. 𝘗𝘰𝘪 𝘴𝘪 𝘤𝘰𝘯𝘴𝘦𝘳𝘷𝘢𝘯𝘰 𝘪𝘯 𝘤𝘢𝘴𝘢 𝘤𝘰𝘮𝘦 𝘱𝘳𝘰𝘵𝘦𝘻𝘪𝘰𝘯𝘦, 𝘢 𝘷𝘰𝘭𝘵𝘦 𝘱𝘦𝘳 𝘵𝘶𝘵𝘵𝘰 𝘭'𝘢𝘯𝘯𝘰. 𝘜𝘯𝘢 𝘱𝘳𝘢𝘵𝘪𝘤𝘢 𝘤𝘩𝘦 𝘢𝘴𝘴𝘰𝘮𝘪𝘨𝘭𝘪𝘢 𝘮𝘰𝘭𝘵𝘰 𝘢 𝘲𝘶𝘦𝘭𝘭'𝘢𝘯𝘵𝘪𝘤𝘢 𝘶𝘴𝘢𝘯𝘻𝘢 𝘴𝘭𝘢𝘷𝘢 𝘥𝘪 𝘭𝘢𝘴𝘤𝘪𝘢𝘳𝘦 𝘶𝘰𝘷𝘢 𝘴𝘶𝘭𝘭𝘦 𝘵𝘰𝘮𝘣𝘦, 𝘤𝘰𝘮𝘦 𝘱𝘦𝘨𝘯𝘰 𝘥𝘪 𝘥𝘪𝘢𝘭𝘰𝘨𝘰 𝘵𝘳𝘢 𝘪𝘭 𝘮𝘰𝘯𝘥𝘰 𝘥𝘦𝘪 𝘷𝘪𝘷𝘪 𝘦 𝘲𝘶𝘦𝘭𝘭𝘰 𝘥𝘦𝘪 𝘥𝘦𝘧𝘶𝘯𝘵𝘪 [11].

𝙄𝙇 𝙎𝙄𝙉𝘾𝙍𝙀𝙏𝙄𝙎𝙈𝙊 𝘾𝙃𝙀 𝙋𝘼𝙍𝙇𝘼 𝘼𝙇 𝘾𝙐𝙊𝙍𝙀

𝘊'𝘦̀ 𝘶𝘯 𝘧𝘪𝘭𝘰 𝘳𝘰𝘴𝘴𝘰 𝘤𝘩𝘦 𝘭𝘦𝘨𝘢 𝘵𝘶𝘵𝘵𝘰 𝘲𝘶𝘦𝘴𝘵𝘰. 𝘌̀ 𝘪𝘭 𝘴𝘪𝘯𝘤𝘳𝘦𝘵𝘪𝘴𝘮𝘰, 𝘲𝘶𝘦𝘭𝘭𝘢 𝘤𝘢𝘱𝘢𝘤𝘪𝘵𝘢̀ 𝘴𝘵𝘳𝘢𝘰𝘳𝘥𝘪𝘯𝘢𝘳𝘪𝘢 𝘥𝘦𝘭𝘭𝘦 𝘤𝘶𝘭𝘵𝘶𝘳𝘦 𝘱𝘰𝘱𝘰𝘭𝘢𝘳𝘪 𝘥𝘪 𝘢𝘴𝘴𝘰𝘳𝘣𝘪𝘳𝘦 𝘴𝘪𝘮𝘣𝘰𝘭𝘪 𝘢𝘯𝘵𝘪𝘤𝘩𝘪 𝘦 𝘳𝘪𝘦𝘮𝘱𝘪𝘳𝘭𝘪 𝘥𝘪 𝘴𝘪𝘨𝘯𝘪𝘧𝘪𝘤𝘢𝘵𝘰 𝘯𝘶𝘰𝘷𝘰, 𝘴𝘦𝘯𝘻𝘢 𝘮𝘢𝘪 𝘳𝘦𝘤𝘪𝘥𝘦𝘳𝘦 𝘥𝘦𝘭 𝘵𝘶𝘵𝘵𝘰 𝘭𝘦 𝘳𝘢𝘥𝘪𝘤𝘪.

𝘘𝘶𝘢𝘯𝘥𝘰 𝘪 𝘮𝘪𝘴𝘴𝘪𝘰𝘯𝘢𝘳𝘪 𝘤𝘳𝘪𝘴𝘵𝘪𝘢𝘯𝘪 𝘢𝘳𝘳𝘪𝘷𝘢𝘳𝘰𝘯𝘰 𝘯𝘦𝘭𝘭𝘦 𝘵𝘦𝘳𝘳𝘦 𝘴𝘭𝘢𝘷𝘦, 𝘴𝘪 𝘵𝘳𝘰𝘷𝘢𝘳𝘰𝘯𝘰 𝘥𝘪 𝘧𝘳𝘰𝘯𝘵𝘦 𝘢 𝘱𝘰𝘱𝘰𝘭𝘢𝘻𝘪𝘰𝘯𝘪 𝘤𝘩𝘦 𝘥𝘢 𝘴𝘦𝘤𝘰𝘭𝘪 𝘤𝘰𝘭𝘰𝘳𝘢𝘷𝘢𝘯𝘰 𝘶𝘰𝘷𝘢 𝘦 𝘭𝘦 𝘰𝘧𝘧𝘳𝘪𝘷𝘢𝘯𝘰 𝘢𝘪 𝘮𝘰𝘳𝘵𝘪 𝘪𝘯 𝘱𝘳𝘪𝘮𝘢𝘷𝘦𝘳𝘢. 𝘐𝘯𝘷𝘦𝘤𝘦 𝘥𝘪 𝘱𝘳𝘰𝘪𝘣𝘪𝘳𝘦, 𝘴𝘤𝘦𝘭𝘴𝘦𝘳𝘰 𝘥𝘪 𝘵𝘳𝘢𝘴𝘧𝘰𝘳𝘮𝘢𝘳𝘦. 𝘋𝘪𝘴𝘴𝘦𝘳𝘰: "𝘝𝘢 𝘣𝘦𝘯𝘦, 𝘤𝘰𝘯𝘵𝘪𝘯𝘶𝘢𝘵𝘦 𝘢 𝘤𝘰𝘭𝘰𝘳𝘢𝘳𝘦 𝘭𝘦 𝘶𝘰𝘷𝘢. 𝘔𝘢 𝘰𝘳𝘢 𝘴𝘪𝘨𝘯𝘪𝘧𝘪𝘤𝘢𝘯𝘰 𝘲𝘶𝘦𝘴𝘵𝘰: 𝘪𝘭 𝘴𝘦𝘱𝘰𝘭𝘤𝘳𝘰 𝘷𝘶𝘰𝘵𝘰, 𝘭𝘢 𝘷𝘪𝘵𝘢 𝘯𝘶𝘰𝘷𝘢, 𝘪𝘭 𝘴𝘢𝘯𝘨𝘶𝘦 𝘥𝘪 𝘊𝘳𝘪𝘴𝘵𝘰 𝘷𝘦𝘳𝘴𝘢𝘵𝘰 𝘱𝘦𝘳 𝘷𝘰𝘪" [12].

𝘘𝘶𝘢𝘭𝘤𝘰𝘴𝘢 𝘥𝘪 𝘮𝘰𝘭𝘵𝘰 𝘴𝘪𝘮𝘪𝘭𝘦 𝘢𝘤𝘤𝘢𝘥𝘥𝘦 𝘯𝘦𝘭 𝘚𝘶𝘥 𝘐𝘵𝘢𝘭𝘪𝘢. 𝘘𝘶𝘪 𝘪𝘭 𝘤𝘶𝘭𝘵𝘰 𝘥𝘦𝘪 𝘮𝘰𝘳𝘵𝘪 𝘢𝘷𝘦𝘷𝘢 𝘳𝘢𝘥𝘪𝘤𝘪 𝘢𝘯𝘵𝘪𝘤𝘩𝘪𝘴𝘴𝘪𝘮𝘦, 𝘤𝘩𝘦 𝘢𝘧𝘧𝘰𝘯𝘥𝘢𝘷𝘢𝘯𝘰 𝘯𝘦𝘪 𝘱𝘰𝘱𝘰𝘭𝘪 𝘪𝘵𝘢𝘭𝘪𝘤𝘪 𝘱𝘳𝘦-𝘳𝘰𝘮𝘢𝘯𝘪, 𝘯𝘦𝘪 𝘨𝘳𝘦𝘤𝘪, 𝘯𝘦𝘪 𝘳𝘰𝘮𝘢𝘯𝘪 𝘴𝘵𝘦𝘴𝘴𝘪. 𝘓𝘦 𝘖𝘧𝘧𝘦𝘳𝘵𝘦 𝘢𝘪 𝘥𝘦𝘧𝘶𝘯𝘵𝘪, 𝘪 𝘤𝘪𝘣𝘪 𝘭𝘢𝘴𝘤𝘪𝘢𝘵𝘪 𝘴𝘶𝘭𝘭𝘦 𝘵𝘰𝘮𝘣𝘦, 𝘭𝘦 𝘱𝘳𝘰𝘤𝘦𝘴𝘴𝘪𝘰𝘯𝘪 𝘯𝘰𝘵𝘵𝘶𝘳𝘯𝘦: 𝘵𝘶𝘵𝘵𝘰 𝘲𝘶𝘦𝘴𝘵𝘰 𝘦𝘴𝘪𝘴𝘵𝘦𝘷𝘢 𝘥𝘢 𝘴𝘦𝘤𝘰𝘭𝘪 𝘱𝘳𝘪𝘮𝘢 𝘤𝘩𝘦 𝘪𝘭 𝘤𝘳𝘪𝘴𝘵𝘪𝘢𝘯𝘦𝘴𝘪𝘮𝘰 𝘢𝘳𝘳𝘪𝘷𝘢𝘴𝘴𝘦.

𝘐𝘭 𝘤𝘳𝘪𝘴𝘵𝘪𝘢𝘯𝘦𝘴𝘪𝘮𝘰 𝘮𝘦𝘳𝘪𝘥𝘪𝘰𝘯𝘢𝘭𝘦 𝘯𝘰𝘯 𝘤𝘢𝘯𝘤𝘦𝘭𝘭𝘰̀ 𝘲𝘶𝘦𝘴𝘵𝘦 𝘱𝘳𝘢𝘵𝘪𝘤𝘩𝘦. 𝘓𝘦 𝘢𝘴𝘴𝘰𝘳𝘣𝘪̀, 𝘭𝘦 𝘳𝘪𝘦𝘭𝘢𝘣𝘰𝘳𝘰̀, 𝘭𝘦 𝘳𝘦𝘴𝘦 𝘴𝘶𝘦. 𝘊𝘰𝘴𝘪̀, 𝘢𝘯𝘤𝘰𝘳𝘢 𝘰𝘨𝘨𝘪, 𝘢 𝘕𝘢𝘱𝘰𝘭𝘪 𝘴𝘪 𝘥𝘪𝘤𝘦 𝘤𝘩𝘦 " '𝘦 𝘮𝘶𝘰𝘳𝘵𝘦 𝘷𝘰𝘯𝘯𝘰 '𝘦 𝘤𝘤𝘰𝘴𝘦 𝘭𝘭𝘰𝘳𝘰" – 𝘪 𝘮𝘰𝘳𝘵𝘪 𝘷𝘰𝘨𝘭𝘪𝘰𝘯𝘰 𝘭𝘦 𝘭𝘰𝘳𝘰 𝘤𝘰𝘴𝘦 – 𝘦 𝘴𝘪 𝘱𝘰𝘳𝘵𝘢𝘯𝘰 𝘧𝘪𝘰𝘳𝘪 𝘦 𝘭𝘶𝘮𝘪𝘯𝘪 𝘢𝘭 𝘤𝘪𝘮𝘪𝘵𝘦𝘳𝘰, 𝘤𝘰𝘮𝘦 𝘴𝘪 𝘧𝘢𝘤𝘦𝘷𝘢 𝘮𝘪𝘭𝘭𝘦𝘯𝘯𝘪 𝘧𝘢 [13].

𝙇𝘼 𝙑𝙊𝘾𝙀 𝘿𝙀𝙄 𝙋𝙊𝙑𝙀𝙍𝙄 𝙉𝙀𝙄 𝙍𝙄𝙏𝙄 𝘿𝙄 𝙍𝙀𝙎𝙐𝙍𝙍𝙀𝙕𝙄𝙊𝙉𝙀

𝘊'𝘦̀ 𝘶𝘯 𝘢𝘭𝘵𝘳𝘰 𝘢𝘴𝘱𝘦𝘵𝘵𝘰 𝘤𝘩𝘦 𝘭𝘦𝘨𝘢 𝘭𝘢 𝘴𝘵𝘰𝘳𝘪𝘢 𝘥𝘦𝘭 𝘣𝘢𝘮𝘣𝘪𝘯𝘰 𝘨𝘶𝘢𝘳𝘪𝘵𝘰 𝘢𝘭 𝘚𝘶𝘥 𝘐𝘵𝘢𝘭𝘪𝘢. 𝘐𝘯 𝘲𝘶𝘦𝘭 𝘳𝘢𝘤𝘤𝘰𝘯𝘵𝘰, 𝘭𝘦 𝘶𝘰𝘷𝘢 𝘤𝘰𝘭𝘰𝘳𝘢𝘵𝘦 𝘯𝘰𝘯 𝘴𝘰𝘯𝘰 𝘴𝘰𝘭𝘰 𝘴𝘪𝘮𝘣𝘰𝘭𝘰 𝘳𝘦𝘭𝘪𝘨𝘪𝘰𝘴𝘰, 𝘮𝘢 𝘢𝘯𝘤𝘩𝘦 𝘶𝘯 𝘥𝘰𝘯𝘰 𝘱𝘦𝘳 𝘪 𝘱𝘰𝘷𝘦𝘳𝘪. 𝘐𝘭 𝘤𝘪𝘣𝘰 𝘱𝘰𝘳𝘵𝘢𝘵𝘰 𝘴𝘶𝘭𝘭𝘢 𝘵𝘰𝘮𝘣𝘢 𝘥𝘦𝘭𝘭𝘢 𝘴𝘢𝘯𝘵𝘢, 𝘥𝘰𝘱𝘰 𝘭𝘦 𝘱𝘳𝘦𝘨𝘩𝘪𝘦𝘳𝘦, 𝘷𝘦𝘯𝘪𝘷𝘢 𝘥𝘪𝘴𝘵𝘳𝘪𝘣𝘶𝘪𝘵𝘰 𝘢𝘪 𝘣𝘪𝘴𝘰𝘨𝘯𝘰𝘴𝘪. 𝘓𝘢 𝘤𝘢𝘳𝘪𝘵𝘢̀ 𝘥𝘪𝘷𝘦𝘯𝘵𝘢𝘷𝘢 𝘱𝘢𝘳𝘵𝘦 𝘪𝘯𝘵𝘦𝘨𝘳𝘢𝘯𝘵𝘦 𝘥𝘦𝘭 𝘳𝘪𝘵𝘰.

𝘕𝘦𝘭 𝘔𝘦𝘻𝘻𝘰𝘨𝘪𝘰𝘳𝘯𝘰, 𝘲𝘶𝘦𝘴𝘵𝘢 𝘥𝘪𝘮𝘦𝘯𝘴𝘪𝘰𝘯𝘦 𝘦̀ 𝘴𝘦𝘮𝘱𝘳𝘦 𝘴𝘵𝘢𝘵𝘢 𝘧𝘰𝘳𝘵𝘪𝘴𝘴𝘪𝘮𝘢. 𝘐 "𝘱𝘢𝘯𝘪 𝘣𝘦𝘯𝘦𝘥𝘦𝘵𝘵𝘪" 𝘥𝘪 𝘗𝘢𝘴𝘲𝘶𝘢, 𝘭𝘦 𝘶𝘰𝘷𝘢 𝘥𝘪𝘴𝘵𝘳𝘪𝘣𝘶𝘪𝘵𝘦 𝘢𝘪 𝘱𝘰𝘷𝘦𝘳𝘪 𝘥𝘰𝘱𝘰 𝘭𝘢 𝘔𝘦𝘴𝘴𝘢, 𝘪 𝘱𝘳𝘢𝘯𝘻𝘪 𝘤𝘰𝘮𝘶𝘯𝘪𝘵𝘢𝘳𝘪 𝘰𝘳𝘨𝘢𝘯𝘪𝘻𝘻𝘢𝘵𝘪 𝘥𝘢𝘭𝘭𝘦 𝘤𝘰𝘯𝘧𝘳𝘢𝘵𝘦𝘳𝘯𝘪𝘵𝘦: 𝘵𝘶𝘵𝘵𝘰 𝘲𝘶𝘦𝘴𝘵𝘰 𝘱𝘢𝘳𝘭𝘢 𝘥𝘪 𝘶𝘯𝘢 𝘧𝘦𝘥𝘦 𝘤𝘩𝘦 𝘯𝘰𝘯 𝘥𝘪𝘮𝘦𝘯𝘵𝘪𝘤𝘢 𝘮𝘢𝘪 𝘭𝘢 𝘤𝘰𝘯𝘤𝘳𝘦𝘵𝘦𝘻𝘻𝘢 𝘥𝘦𝘭𝘭𝘢 𝘷𝘪𝘵𝘢 𝘲𝘶𝘰𝘵𝘪𝘥𝘪𝘢𝘯𝘢 [14].

𝘈 𝘕𝘢𝘱𝘰𝘭𝘪, 𝘧𝘪𝘯𝘰 𝘢 𝘯𝘰𝘯 𝘮𝘰𝘭𝘵𝘪 𝘥𝘦𝘤𝘦𝘯𝘯𝘪 𝘧𝘢, 𝘪𝘭 𝘭𝘶𝘯𝘦𝘥𝘪̀ 𝘥𝘦𝘭𝘭'𝘈𝘯𝘨𝘦𝘭𝘰 𝘦𝘳𝘢 𝘵𝘳𝘢𝘥𝘪𝘻𝘪𝘰𝘯𝘢𝘭𝘮𝘦𝘯𝘵𝘦 𝘥𝘦𝘥𝘪𝘤𝘢𝘵𝘰 𝘢𝘭𝘭𝘦 𝘴𝘤𝘢𝘮𝘱𝘢𝘨𝘯𝘢𝘵𝘦 𝘧𝘶𝘰𝘳𝘪 𝘱𝘰𝘳𝘵𝘢. 𝘍𝘢𝘮𝘪𝘨𝘭𝘪𝘦 𝘪𝘯𝘵𝘦𝘳𝘦 𝘶𝘴𝘤𝘪𝘷𝘢𝘯𝘰 𝘥𝘢𝘭𝘭𝘢 𝘤𝘪𝘵𝘵𝘢̀ 𝘱𝘦𝘳 𝘱𝘢𝘴𝘴𝘢𝘳𝘦 𝘭𝘢 𝘨𝘪𝘰𝘳𝘯𝘢𝘵𝘢 𝘯𝘦𝘪 𝘤𝘢𝘮𝘱𝘪, 𝘱𝘰𝘳𝘵𝘢𝘯𝘥𝘰 𝘤𝘰𝘯 𝘴𝘦́ 𝘤𝘦𝘴𝘵𝘦 𝘥𝘪 𝘤𝘪𝘣𝘰, 𝘵𝘳𝘢 𝘤𝘶𝘪 𝘪𝘮𝘮𝘢𝘯𝘤𝘢𝘣𝘪𝘭𝘪 𝘶𝘰𝘷𝘢 𝘴𝘰𝘥𝘦 𝘥𝘦𝘤𝘰𝘳𝘢𝘵𝘦. 𝘜𝘯'𝘶𝘴𝘢𝘯𝘻𝘢 𝘤𝘩𝘦 𝘳𝘪𝘤𝘰𝘳𝘥𝘢 𝘥𝘢 𝘷𝘪𝘤𝘪𝘯𝘰 𝘲𝘶𝘦𝘪 𝘱𝘦𝘭𝘭𝘦𝘨𝘳𝘪𝘯𝘢𝘨𝘨𝘪 𝘱𝘢𝘴𝘲𝘶𝘢𝘭𝘪 𝘥𝘦𝘪 𝘱𝘰𝘭𝘢𝘤𝘤𝘩𝘪 𝘮𝘦𝘥𝘪𝘦𝘷𝘢𝘭𝘪, 𝘲𝘶𝘢𝘯𝘥𝘰 𝘭𝘦 𝘧𝘢𝘮𝘪𝘨𝘭𝘪𝘦 𝘴𝘪 𝘳𝘦𝘤𝘢𝘷𝘢𝘯𝘰 𝘴𝘶𝘭𝘭𝘦 𝘵𝘰𝘮𝘣𝘦 𝘥𝘦𝘪 𝘥𝘦𝘧𝘶𝘯𝘵𝘪 𝘱𝘰𝘳𝘵𝘢𝘯𝘥𝘰 𝘶𝘰𝘷𝘢 𝘤𝘰𝘭𝘰𝘳𝘢𝘵𝘦 [15].

𝘾𝙄𝙊̀ 𝘾𝙃𝙀 𝙍𝙀𝙎𝙏𝘼

𝘖𝘨𝘨𝘪, 𝘪𝘯 𝘶𝘯 𝘮𝘰𝘯𝘥𝘰 𝘥𝘰𝘮𝘪𝘯𝘢𝘵𝘰 𝘥𝘢𝘭𝘭𝘢 𝘱𝘳𝘰𝘥𝘶𝘻𝘪𝘰𝘯𝘦 𝘪𝘯𝘥𝘶𝘴𝘵𝘳𝘪𝘢𝘭𝘦 𝘦 𝘥𝘢𝘭𝘭𝘦 𝘶𝘰𝘷𝘢 𝘥𝘪 𝘤𝘪𝘰𝘤𝘤𝘰𝘭𝘢𝘵𝘰 𝘤𝘰𝘯 𝘴𝘰𝘳𝘱𝘳𝘦𝘴𝘢, 𝘲𝘶𝘢𝘭𝘤𝘰𝘴𝘢 𝘥𝘪 𝘲𝘶𝘦𝘭𝘭𝘢 𝘢𝘯𝘵𝘪𝘤𝘢 𝘷𝘰𝘤𝘦 𝘴𝘪 𝘦̀ 𝘢𝘧𝘧𝘪𝘦𝘷𝘰𝘭𝘪𝘵𝘰. 𝘌𝘱𝘱𝘶𝘳𝘦 𝘳𝘦𝘴𝘪𝘴𝘵𝘦. 𝘕𝘦𝘪 𝘱𝘪𝘤𝘤𝘰𝘭𝘪 𝘨𝘦𝘴𝘵𝘪, 𝘯𝘦𝘭𝘭𝘦 𝘵𝘳𝘢𝘥𝘪𝘻𝘪𝘰𝘯𝘪 𝘤𝘩𝘦 𝘴𝘪 𝘵𝘳𝘢𝘮𝘢𝘯𝘥𝘢𝘯𝘰 𝘴𝘦𝘯𝘻𝘢 𝘲𝘶𝘢𝘴𝘪 𝘴𝘢𝘱𝘦𝘳𝘦 𝘱𝘦𝘳𝘤𝘩𝘦́.

𝘐 𝘣𝘢𝘮𝘣𝘪𝘯𝘪 𝘤𝘩𝘦 𝘥𝘦𝘤𝘰𝘳𝘢𝘯𝘰 𝘭𝘦 𝘶𝘰𝘷𝘢 𝘢 𝘗𝘢𝘴𝘲𝘶𝘢, 𝘯𝘦𝘭𝘭𝘦 𝘴𝘤𝘶𝘰𝘭𝘦 𝘰 𝘪𝘯 𝘧𝘢𝘮𝘪𝘨𝘭𝘪𝘢, 𝘧𝘰𝘳𝘴𝘦 𝘯𝘰𝘯 𝘴𝘢𝘯𝘯𝘰 𝘤𝘩𝘦 𝘴𝘵𝘢𝘯𝘯𝘰 𝘳𝘪𝘱𝘦𝘵𝘦𝘯𝘥𝘰 𝘶𝘯 𝘨𝘦𝘴𝘵𝘰 𝘤𝘩𝘦 𝘷𝘪𝘦𝘯𝘦 𝘥𝘢 𝘮𝘪𝘨𝘭𝘪𝘢𝘪𝘢 𝘥𝘪 𝘢𝘯𝘯𝘪 𝘧𝘢. 𝘓𝘦 𝘯𝘰𝘯𝘯𝘦 𝘤𝘩𝘦 𝘱𝘳𝘦𝘱𝘢𝘳𝘢𝘯𝘰 𝘪𝘭 𝘤𝘢𝘴𝘢𝘵𝘪𝘦𝘭𝘭𝘰 𝘤𝘰𝘯 𝘭𝘦 𝘶𝘰𝘷𝘢 𝘪𝘯𝘤𝘢𝘴𝘵𝘰𝘯𝘢𝘵𝘦 𝘯𝘦𝘭𝘭𝘢 𝘱𝘢𝘴𝘵𝘢 𝘯𝘰𝘯 𝘱𝘦𝘯𝘴𝘢𝘯𝘰 𝘢𝘪 𝘴𝘪𝘮𝘣𝘰𝘭𝘪 𝘱𝘳𝘦𝘤𝘳𝘪𝘴𝘵𝘪𝘢𝘯𝘪 𝘥𝘪 𝘧𝘦𝘳𝘵𝘪𝘭𝘪𝘵𝘢̀ 𝘦 𝘳𝘪𝘯𝘢𝘴𝘤𝘪𝘵𝘢. 𝘌𝘱𝘱𝘶𝘳𝘦, 𝘲𝘶𝘦𝘪 𝘨𝘦𝘴𝘵𝘪 𝘤𝘰𝘯𝘵𝘪𝘯𝘶𝘢𝘯𝘰 𝘢 𝘱𝘢𝘳𝘭𝘢𝘳𝘦, 𝘱𝘰𝘳𝘵𝘢𝘯𝘥𝘰 𝘤𝘰𝘯 𝘴𝘦́ 𝘶𝘯𝘢 𝘮𝘦𝘮𝘰𝘳𝘪𝘢 𝘤𝘩𝘦 𝘯𝘰𝘯 𝘦̀ 𝘧𝘢𝘵𝘵𝘢 𝘥𝘪 𝘱𝘢𝘳𝘰𝘭𝘦, 𝘮𝘢 𝘥𝘪 𝘮𝘢𝘵𝘦𝘳𝘪𝘢 𝘦 𝘥𝘪 𝘷𝘪𝘵𝘢 [16].

𝘊'𝘦̀ 𝘶𝘯𝘢 𝘴𝘢𝘨𝘨𝘦𝘻𝘻𝘢 𝘱𝘳𝘰𝘧𝘰𝘯𝘥𝘢 𝘪𝘯 𝘲𝘶𝘦𝘴𝘵𝘢 𝘱𝘦𝘳𝘴𝘪𝘴𝘵𝘦𝘯𝘻𝘢. 𝘌̀ 𝘭𝘢 𝘴𝘵𝘦𝘴𝘴𝘢 𝘤𝘩𝘦 𝘱𝘰𝘳𝘵𝘰̀ 𝘲𝘶𝘦𝘭𝘭𝘢 𝘮𝘢𝘥𝘳𝘦 𝘱𝘰𝘭𝘢𝘤𝘤𝘢 𝘢 𝘪𝘯𝘨𝘪𝘯𝘰𝘤𝘤𝘩𝘪𝘢𝘳𝘴𝘪 𝘴𝘶𝘭𝘭𝘢 𝘵𝘰𝘮𝘣𝘢 𝘥𝘪 𝘶𝘯𝘢 𝘴𝘢𝘯𝘵𝘢, 𝘭𝘢 𝘴𝘵𝘦𝘴𝘴𝘢 𝘤𝘩𝘦 𝘴𝘱𝘪𝘯𝘴𝘦 𝘪𝘭 𝘣𝘢𝘮𝘣𝘪𝘯𝘰 𝘢𝘥 𝘢𝘭𝘻𝘢𝘳𝘴𝘪 𝘱𝘦𝘳 𝘶𝘯 𝘶𝘰𝘷𝘰 𝘤𝘰𝘭𝘰𝘳𝘢𝘵𝘰, 𝘭𝘢 𝘴𝘵𝘦𝘴𝘴𝘢 𝘤𝘩𝘦 𝘢𝘯𝘤𝘰𝘳𝘢 𝘰𝘨𝘨𝘪 𝘧𝘢 𝘥𝘪𝘳𝘦 𝘢 𝘶𝘯 𝘯𝘢𝘱𝘰𝘭𝘦𝘵𝘢𝘯𝘰, 𝘨𝘶𝘢𝘳𝘥𝘢𝘯𝘥𝘰 𝘶𝘯 𝘤𝘢𝘴𝘢𝘵𝘪𝘦𝘭𝘭𝘰 𝘢𝘱𝘱𝘦𝘯𝘢 𝘴𝘧𝘰𝘳𝘯𝘢𝘵𝘰: "𝘘𝘶𝘦𝘴𝘵𝘰 𝘦̀ 𝘗𝘢𝘴𝘲𝘶𝘢".

𝘗𝘦𝘳𝘤𝘩𝘦́ 𝘢𝘭𝘭𝘢 𝘧𝘪𝘯𝘦, 𝘲𝘶𝘢𝘭𝘶𝘯𝘲𝘶𝘦 𝘴𝘪𝘢 𝘭𝘢 𝘧𝘦𝘥𝘦, 𝘲𝘶𝘢𝘭𝘶𝘯𝘲𝘶𝘦 𝘴𝘪𝘢 𝘭𝘢 𝘤𝘶𝘭𝘵𝘶𝘳𝘢, 𝘭'𝘶𝘰𝘷𝘰 𝘳𝘪𝘮𝘢𝘯𝘦 𝘲𝘶𝘦𝘭𝘭𝘰 𝘤𝘩𝘦 𝘦̀ 𝘴𝘦𝘮𝘱𝘳𝘦 𝘴𝘵𝘢𝘵𝘰: 𝘪𝘭 𝘮𝘪𝘴𝘵𝘦𝘳𝘰 𝘥𝘦𝘭𝘭𝘢 𝘷𝘪𝘵𝘢 𝘤𝘩𝘦 𝘯𝘢𝘴𝘤𝘦, 𝘴𝘪 𝘯𝘢𝘴𝘤𝘰𝘯𝘥𝘦, 𝘦 𝘱𝘰𝘪 𝘢𝘭𝘭'𝘪𝘮𝘱𝘳𝘰𝘷𝘷𝘪𝘴𝘰 𝘴𝘪 𝘳𝘪𝘷𝘦𝘭𝘢. 𝘊𝘰𝘮𝘦 𝘪𝘭 𝘣𝘢𝘮𝘣𝘪𝘯𝘰 𝘤𝘩𝘦 𝘴𝘪 𝘢𝘭𝘻𝘰̀ 𝘦 𝘤𝘢𝘮𝘮𝘪𝘯𝘰̀. 𝘊𝘰𝘮𝘦 𝘪𝘭 𝘴𝘦𝘮𝘦 𝘤𝘩𝘦 𝘳𝘰𝘮𝘱𝘦 𝘭𝘢 𝘵𝘦𝘳𝘳𝘢 𝘢 𝘱𝘳𝘪𝘮𝘢𝘷𝘦𝘳𝘢. 𝘊𝘰𝘮𝘦 𝘪𝘭 𝘴𝘦𝘱𝘰𝘭𝘤𝘳𝘰 𝘷𝘶𝘰𝘵𝘰 𝘤𝘩𝘦 𝘢𝘯𝘯𝘶𝘯𝘤𝘪𝘢 𝘭𝘢 𝘳𝘦𝘴𝘶𝘳𝘳𝘦𝘻𝘪𝘰𝘯𝘦.

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𝘕𝘖𝘛𝘌

[1] 𝘝𝘪𝘵𝘢 𝘚𝘢𝘯𝘤𝘵𝘢𝘦 𝘏𝘦𝘥𝘸𝘪𝘨𝘪𝘴, 𝘧𝘪𝘯𝘦 𝘟𝘐𝘐𝘐 𝘴𝘦𝘤𝘰𝘭𝘰. 𝘐𝘭 𝘮𝘢𝘯𝘰𝘴𝘤𝘳𝘪𝘵𝘵𝘰 𝘰𝘳𝘪𝘨𝘪𝘯𝘢𝘭𝘦 𝘦̀ 𝘤𝘰𝘯𝘴𝘦𝘳𝘷𝘢𝘵𝘰 𝘯𝘦𝘭𝘭𝘢 𝘉𝘪𝘣𝘭𝘪𝘰𝘵𝘦𝘤𝘢 𝘝𝘢𝘵𝘪𝘤𝘢𝘯𝘢. 𝘓𝘦 𝘥𝘢𝘵𝘦 𝘥𝘦𝘭 𝘮𝘪𝘳𝘢𝘤𝘰𝘭𝘰 𝘰𝘴𝘤𝘪𝘭𝘭𝘢𝘯𝘰 𝘵𝘳𝘢 𝘪𝘭 1274 𝘦 𝘪𝘭 1287 𝘢 𝘴𝘦𝘤𝘰𝘯𝘥𝘢 𝘥𝘦𝘭𝘭𝘦 𝘥𝘪𝘷𝘦𝘳𝘴𝘦 𝘵𝘳𝘢𝘥𝘪𝘻𝘪𝘰𝘯𝘪 𝘮𝘢𝘯𝘰𝘴𝘤𝘳𝘪𝘵𝘵𝘦.

[2] 𝘚𝘢𝘯𝘵𝘢 𝘌𝘥𝘷𝘪𝘨𝘦 𝘥𝘪 𝘈𝘯𝘥𝘦𝘤𝘩𝘴 (1174-1243) 𝘧𝘶 𝘥𝘶𝘤𝘩𝘦𝘴𝘴𝘢 𝘥𝘪 𝘚𝘭𝘦𝘴𝘪𝘢, 𝘤𝘢𝘯𝘰𝘯𝘪𝘻𝘻𝘢𝘵𝘢 𝘥𝘢 𝘱𝘢𝘱𝘢 𝘊𝘭𝘦𝘮𝘦𝘯𝘵𝘦 𝘐𝘝 𝘯𝘦𝘭 1267. 𝘐𝘭 𝘴𝘶𝘰 𝘤𝘶𝘭𝘵𝘰 𝘴𝘪 𝘥𝘪𝘧𝘧𝘶𝘴𝘦 𝘳𝘢𝘱𝘪𝘥𝘢𝘮𝘦𝘯𝘵𝘦 𝘪𝘯 𝘗𝘰𝘭𝘰𝘯𝘪𝘢, 𝘎𝘦𝘳𝘮𝘢𝘯𝘪𝘢 𝘦 𝘉𝘰𝘦𝘮𝘪𝘢.

[3] 𝘓'𝘦𝘱𝘪𝘴𝘰𝘥𝘪𝘰 𝘥𝘦𝘭 𝘣𝘢𝘮𝘣𝘪𝘯𝘰 𝘨𝘶𝘢𝘳𝘪𝘵𝘰 𝘦̀ 𝘳𝘪𝘱𝘰𝘳𝘵𝘢𝘵𝘰 𝘪𝘯 𝘵𝘶𝘵𝘵𝘪 𝘪 𝘱𝘳𝘪𝘯𝘤𝘪𝘱𝘢𝘭𝘪 𝘵𝘦𝘴𝘵𝘪𝘮𝘰𝘯𝘪 𝘢𝘨𝘪𝘰𝘨𝘳𝘢𝘧𝘪𝘤𝘪 𝘥𝘦𝘭𝘭𝘢 𝘴𝘢𝘯𝘵𝘢, 𝘤𝘰𝘯 𝘷𝘢𝘳𝘪𝘢𝘯𝘵𝘪 𝘮𝘪𝘯𝘰𝘳𝘪. 𝘓𝘢 𝘤𝘰𝘭𝘭𝘰𝘤𝘢𝘻𝘪𝘰𝘯𝘦 𝘵𝘦𝘮𝘱𝘰𝘳𝘢𝘭𝘦 𝘯𝘦𝘭 𝘮𝘢𝘳𝘵𝘦𝘥𝘪̀ 𝘥𝘰𝘱𝘰 𝘗𝘢𝘴𝘲𝘶𝘢 𝘦̀ 𝘤𝘰𝘴𝘵𝘢𝘯𝘵𝘦.

[4] 𝘚𝘶𝘭𝘭'𝘶𝘯𝘪𝘷𝘦𝘳𝘴𝘢𝘭𝘪𝘵𝘢̀ 𝘥𝘦𝘭 𝘴𝘪𝘮𝘣𝘰𝘭𝘰 𝘥𝘦𝘭𝘭'𝘶𝘰𝘷𝘰 𝘯𝘦𝘭𝘭𝘦 𝘤𝘶𝘭𝘵𝘶𝘳𝘦 𝘢𝘯𝘵𝘪𝘤𝘩𝘦, 𝘤𝘧𝘳. 𝘜𝘰𝘷𝘰 𝘥𝘪 𝘗𝘢𝘴𝘲𝘶𝘢, 𝘪𝘯 𝘞𝘪𝘬𝘪𝘱𝘦𝘥𝘪𝘢 [𝘴𝘦𝘯𝘻𝘢 𝘥𝘢𝘵𝘢] . 𝘐𝘭 𝘮𝘰𝘵𝘪𝘷𝘰 𝘥𝘦𝘭𝘭'𝘶𝘰𝘷𝘰 𝘤𝘰𝘴𝘮𝘰𝘨𝘰𝘯𝘪𝘤𝘰 𝘦̀ 𝘢𝘵𝘵𝘦𝘴𝘵𝘢𝘵𝘰 𝘪𝘯 𝘐𝘯𝘥𝘪𝘢, 𝘐𝘯𝘥𝘰𝘯𝘦𝘴𝘪𝘢, 𝘐𝘳𝘢𝘯, 𝘎𝘳𝘦𝘤𝘪𝘢, 𝘍𝘦𝘯𝘪𝘤𝘪𝘢, 𝘗𝘰𝘭𝘪𝘯𝘦𝘴𝘪𝘢 𝘦 𝘈𝘮𝘦𝘳𝘪𝘤𝘢 𝘤𝘦𝘯𝘵𝘳𝘢𝘭𝘦.

[5] 𝘚𝘰𝘱𝘩𝘪𝘦 𝘏𝘰𝘥𝘰𝘳𝘰𝘸𝘪𝘤𝘻 𝘒𝘯𝘢𝘣, 𝘗𝘰𝘭𝘪𝘴𝘩 𝘊𝘶𝘴𝘵𝘰𝘮𝘴, 𝘛𝘳𝘢𝘥𝘪𝘵𝘪𝘰𝘯𝘴 & 𝘍𝘰𝘭𝘬𝘭𝘰𝘳𝘦, 𝘏𝘪𝘱𝘱𝘰𝘤𝘳𝘦𝘯𝘦 𝘉𝘰𝘰𝘬𝘴, 2024 (𝘦𝘥𝘪𝘻𝘪𝘰𝘯𝘦 𝘵𝘢𝘴𝘤𝘢𝘣𝘪𝘭𝘦), 𝘤𝘢𝘱𝘪𝘵𝘰𝘭𝘰 𝘥𝘦𝘥𝘪𝘤𝘢𝘵𝘰 𝘢𝘭𝘭𝘦 𝘶𝘴𝘢𝘯𝘻𝘦 𝘱𝘢𝘴𝘲𝘶𝘢𝘭𝘪 . 𝘐𝘭 𝘭𝘪𝘣𝘳𝘰, 𝘤𝘰𝘯𝘴𝘪𝘥𝘦𝘳𝘢𝘵𝘰 𝘶𝘯 𝘳𝘪𝘧𝘦𝘳𝘪𝘮𝘦𝘯𝘵𝘰 𝘧𝘰𝘯𝘥𝘢𝘮𝘦𝘯𝘵𝘢𝘭𝘦 𝘱𝘦𝘳 𝘭𝘢 𝘮𝘢𝘵𝘦𝘳𝘪𝘢, 𝘦̀ 𝘰𝘳𝘨𝘢𝘯𝘪𝘻𝘻𝘢𝘵𝘰 𝘮𝘦𝘴𝘦 𝘱𝘦𝘳 𝘮𝘦𝘴𝘦 𝘦 𝘥𝘰𝘤𝘶𝘮𝘦𝘯𝘵𝘢 𝘭𝘦 𝘵𝘳𝘢𝘥𝘪𝘻𝘪𝘰𝘯𝘪 𝘱𝘦𝘳𝘥𝘶𝘵𝘦 𝘥𝘦𝘭𝘭𝘢 𝘗𝘰𝘭𝘰𝘯𝘪𝘢 𝘢𝘨𝘳𝘢𝘳𝘪𝘢.

[6] 𝘘𝘶𝘦𝘴𝘵𝘢 𝘳𝘪𝘭𝘦𝘵𝘵𝘶𝘳𝘢 𝘤𝘳𝘪𝘴𝘵𝘪𝘢𝘯𝘢 𝘥𝘦𝘭 𝘴𝘪𝘮𝘣𝘰𝘭𝘰 𝘥𝘦𝘭𝘭'𝘶𝘰𝘷𝘰 𝘦̀ 𝘢𝘵𝘵𝘦𝘴𝘵𝘢𝘵𝘢 𝘨𝘪𝘢̀ 𝘵𝘳𝘢 𝘪 𝘱𝘳𝘪𝘮𝘪 𝘤𝘳𝘪𝘴𝘵𝘪𝘢𝘯𝘪 𝘥𝘦𝘭𝘭𝘢 𝘔𝘦𝘴𝘰𝘱𝘰𝘵𝘢𝘮𝘪𝘢, 𝘤𝘩𝘦 𝘵𝘪𝘯𝘨𝘦𝘷𝘢𝘯𝘰 𝘭𝘦 𝘶𝘰𝘷𝘢 𝘥𝘪 𝘳𝘰𝘴𝘴𝘰 «𝘪𝘯 𝘳𝘪𝘤𝘰𝘳𝘥𝘰 𝘥𝘦𝘭 𝘴𝘢𝘯𝘨𝘶𝘦 𝘥𝘪 𝘊𝘳𝘪𝘴𝘵𝘰, 𝘷𝘦𝘳𝘴𝘢𝘵𝘰 𝘢𝘭𝘭𝘢 𝘴𝘶𝘢 𝘤𝘳𝘰𝘤𝘪𝘧𝘪𝘴𝘴𝘪𝘰𝘯𝘦». 𝘊𝘧𝘳. 𝘞𝘪𝘭𝘴𝘰𝘯 𝘋. 𝘞𝘢𝘭𝘭𝘪𝘴, 𝘊𝘶𝘭𝘵𝘶𝘳𝘦 𝘢𝘯𝘥 𝘗𝘳𝘰𝘨𝘳𝘦𝘴𝘴 .

[7] 𝘎𝘭𝘪 𝘴𝘤𝘢𝘷𝘪 𝘢𝘳𝘤𝘩𝘦𝘰𝘭𝘰𝘨𝘪𝘤𝘪 𝘥𝘪 𝘖𝘴𝘵𝘳𝘰́𝘸𝘦𝘬, 𝘤𝘰𝘯𝘥𝘰𝘵𝘵𝘪 𝘥𝘢𝘭𝘭'𝘜𝘯𝘪𝘷𝘦𝘳𝘴𝘪𝘵𝘢̀ 𝘥𝘪 𝘋𝘢𝘯𝘻𝘪𝘤𝘢, 𝘩𝘢𝘯𝘯𝘰 𝘳𝘦𝘴𝘵𝘪𝘵𝘶𝘪𝘵𝘰 𝘴𝘦𝘵𝘵𝘦 𝘶𝘰𝘷𝘢 𝘥𝘪 𝘱𝘪𝘦𝘵𝘳𝘢 𝘳𝘪𝘴𝘢𝘭𝘦𝘯𝘵𝘪 𝘢𝘭 𝘱𝘦𝘳𝘪𝘰𝘥𝘰 𝘵𝘳𝘢 𝘪𝘭 𝘟 𝘦 𝘪𝘭 𝘟𝘐𝘐𝘐 𝘴𝘦𝘤𝘰𝘭𝘰, 𝘥𝘦𝘤𝘰𝘳𝘢𝘵𝘦 𝘤𝘰𝘯 𝘮𝘰𝘵𝘪𝘷𝘪 𝘢 𝘴𝘱𝘪𝘳𝘢𝘭𝘦 𝘦 𝘨𝘦𝘰𝘮𝘦𝘵𝘳𝘪𝘤𝘪 𝘪𝘥𝘦𝘯𝘵𝘪𝘤𝘪 𝘢 𝘲𝘶𝘦𝘭𝘭𝘪 𝘥𝘦𝘭𝘭𝘦 𝘱𝘺𝘴𝘢𝘯𝘬𝘺 𝘵𝘳𝘢𝘥𝘪𝘻𝘪𝘰𝘯𝘢𝘭𝘪.

[8] 𝘚𝘶𝘭𝘭𝘦 𝘵𝘳𝘢𝘥𝘪𝘻𝘪𝘰𝘯𝘪 𝘱𝘢𝘴𝘲𝘶𝘢𝘭𝘪 𝘥𝘦𝘪 𝘚𝘰𝘳𝘣𝘪 𝘪𝘯 𝘚𝘢𝘴𝘴𝘰𝘯𝘪𝘢, 𝘤𝘧𝘳. 𝘛𝘳𝘢𝘥𝘪𝘻𝘪𝘰𝘯𝘪 𝘱𝘢𝘴𝘲𝘶𝘢𝘭𝘪 𝘪𝘯 𝘚𝘢𝘴𝘴𝘰𝘯𝘪𝘢, 𝘚𝘢𝘴𝘴𝘰𝘯𝘪𝘢 𝘛𝘶𝘳𝘪𝘴𝘮𝘰 [𝘴𝘦𝘯𝘻𝘢 𝘥𝘢𝘵𝘢] . 𝘓𝘢 𝘵𝘦𝘤𝘯𝘪𝘤𝘢 𝘥𝘦𝘭𝘭𝘢 𝘳𝘪𝘴𝘦𝘳𝘷𝘢 𝘥𝘪 𝘤𝘦𝘳𝘢, 𝘥𝘦𝘵𝘵𝘢 𝘣𝘢𝘵𝘪𝘬, 𝘦̀ 𝘢𝘯𝘤𝘰𝘳𝘢 𝘱𝘳𝘢𝘵𝘪𝘤𝘢𝘵𝘢 𝘯𝘦𝘭𝘭𝘢 𝘳𝘦𝘨𝘪𝘰𝘯𝘦 𝘥𝘦𝘭𝘭'𝘈𝘭𝘵𝘢 𝘓𝘶𝘴𝘢𝘻𝘪𝘢.

[9] 𝘓𝘦 𝘱𝘳𝘰𝘤𝘦𝘴𝘴𝘪𝘰𝘯𝘪 𝘦𝘲𝘶𝘦𝘴𝘵𝘳𝘪 𝘱𝘢𝘴𝘲𝘶𝘢𝘭𝘪 𝘥𝘦𝘪 𝘚𝘰𝘳𝘣𝘪 𝘴𝘰𝘯𝘰 𝘥𝘰𝘤𝘶𝘮𝘦𝘯𝘵𝘢𝘵𝘦 𝘥𝘢 𝘴𝘦𝘤𝘰𝘭𝘪. 𝘓𝘢 𝘭𝘰𝘳𝘰 𝘰𝘳𝘪𝘨𝘪𝘯𝘦 𝘱𝘰𝘵𝘳𝘦𝘣𝘣𝘦 𝘳𝘪𝘴𝘢𝘭𝘪𝘳𝘦 𝘢𝘭𝘭𝘦 𝘢𝘯𝘵𝘪𝘤𝘩𝘦 "𝘤𝘢𝘷𝘢𝘭𝘤𝘢𝘵𝘦 𝘥𝘦𝘪 𝘤𝘢𝘮𝘱𝘪" 𝘱𝘦𝘳 𝘱𝘳𝘰𝘱𝘪𝘻𝘪𝘢𝘳𝘦 𝘪𝘭 𝘳𝘢𝘤𝘤𝘰𝘭𝘵𝘰 .

[10] 𝘚𝘶𝘭 𝘤𝘢𝘴𝘢𝘵𝘪𝘦𝘭𝘭𝘰 𝘯𝘢𝘱𝘰𝘭𝘦𝘵𝘢𝘯𝘰 𝘦 𝘪𝘭 𝘴𝘶𝘰 𝘴𝘪𝘮𝘣𝘰𝘭𝘪𝘴𝘮𝘰, 𝘤𝘧𝘳. 𝘗𝘦𝘳𝘤𝘩𝘦́ 𝘢 𝘗𝘢𝘴𝘲𝘶𝘢 𝘤𝘪 𝘴𝘤𝘢𝘮𝘣𝘪𝘢𝘮𝘰 𝘭𝘦 𝘶𝘰𝘷𝘢?, 𝘍𝘢𝘮𝘪𝘨𝘭𝘪𝘢 𝘊𝘳𝘪𝘴𝘵𝘪𝘢𝘯𝘢, 1 𝘢𝘱𝘳𝘪𝘭𝘦 2018 . 𝘓𝘢 𝘧𝘰𝘳𝘮𝘢 𝘤𝘪𝘳𝘤𝘰𝘭𝘢𝘳𝘦 𝘳𝘪𝘤𝘩𝘪𝘢𝘮𝘢 𝘭𝘢 𝘤𝘰𝘳𝘰𝘯𝘢 𝘥𝘪 𝘴𝘱𝘪𝘯𝘦, 𝘮𝘢 𝘢𝘯𝘤𝘩𝘦 𝘭'𝘦𝘵𝘦𝘳𝘯𝘰 𝘳𝘪𝘵𝘰𝘳𝘯𝘰 𝘥𝘦𝘭𝘭𝘦 𝘴𝘵𝘢𝘨𝘪𝘰𝘯𝘪.

[11] 𝘓'𝘶𝘴𝘢𝘯𝘻𝘢 𝘥𝘪 𝘣𝘦𝘯𝘦𝘥𝘪𝘳𝘦 𝘭𝘦 𝘶𝘰𝘷𝘢 𝘪𝘯 𝘤𝘩𝘪𝘦𝘴𝘢 𝘦̀ 𝘢𝘯𝘤𝘰𝘳𝘢 𝘷𝘪𝘷𝘢 𝘪𝘯 𝘮𝘰𝘭𝘵𝘦 𝘳𝘦𝘨𝘪𝘰𝘯𝘪 𝘥𝘦𝘭 𝘚𝘶𝘥 𝘐𝘵𝘢𝘭𝘪𝘢, 𝘤𝘰𝘴𝘪̀ 𝘤𝘰𝘮𝘦 𝘭𝘢 𝘵𝘳𝘢𝘥𝘪𝘻𝘪𝘰𝘯𝘦 𝘥𝘪 𝘤𝘰𝘯𝘴𝘦𝘳𝘷𝘢𝘳𝘦 𝘭𝘦 𝘶𝘰𝘷𝘢 𝘣𝘦𝘯𝘦𝘥𝘦𝘵𝘵𝘦 𝘤𝘰𝘮𝘦 𝘱𝘳𝘰𝘵𝘦𝘻𝘪𝘰𝘯𝘦 𝘥𝘰𝘮𝘦𝘴𝘵𝘪𝘤𝘢.

[12] 𝘘𝘶𝘦𝘴𝘵𝘰 𝘱𝘳𝘰𝘤𝘦𝘴𝘴𝘰 𝘥𝘪 𝘪𝘯𝘤𝘶𝘭𝘵𝘶𝘳𝘢𝘻𝘪𝘰𝘯𝘦 𝘦̀ 𝘣𝘦𝘯 𝘥𝘰𝘤𝘶𝘮𝘦𝘯𝘵𝘢𝘵𝘰 𝘯𝘦𝘨𝘭𝘪 𝘴𝘤𝘳𝘪𝘵𝘵𝘪 𝘥𝘦𝘪 𝘮𝘪𝘴𝘴𝘪𝘰𝘯𝘢𝘳𝘪 𝘮𝘦𝘥𝘪𝘦𝘷𝘢𝘭𝘪 𝘢𝘵𝘵𝘪𝘷𝘪 𝘯𝘦𝘭𝘭𝘦 𝘵𝘦𝘳𝘳𝘦 𝘴𝘭𝘢𝘷𝘦. 𝘗𝘢𝘳𝘵𝘪𝘤𝘰𝘭𝘢𝘳𝘮𝘦𝘯𝘵𝘦 𝘴𝘪𝘨𝘯𝘪𝘧𝘪𝘤𝘢𝘵𝘪𝘷𝘦 𝘭𝘦 𝘭𝘦𝘵𝘵𝘦𝘳𝘦 𝘥𝘦𝘪 𝘷𝘦𝘴𝘤𝘰𝘷𝘪 𝘥𝘪 𝘊𝘳𝘢𝘤𝘰𝘷𝘪𝘢 𝘦 𝘉𝘳𝘦𝘴𝘭𝘢𝘷𝘪𝘢 𝘯𝘦𝘭 𝘟𝘐𝘐𝘐 𝘴𝘦𝘤𝘰𝘭𝘰.

[13] 𝘚𝘶𝘭 𝘤𝘶𝘭𝘵𝘰 𝘥𝘦𝘪 𝘮𝘰𝘳𝘵𝘪 𝘢 𝘕𝘢𝘱𝘰𝘭𝘪, 𝘤𝘧𝘳. 𝘋𝘦 𝘔𝘢𝘳𝘵𝘪𝘯𝘰, 𝘌., 𝘚𝘶𝘥 𝘦 𝘔𝘢𝘨𝘪𝘢, 𝘍𝘦𝘭𝘵𝘳𝘪𝘯𝘦𝘭𝘭𝘪, 1959. 𝘓'𝘢𝘯𝘵𝘳𝘰𝘱𝘰𝘭𝘰𝘨𝘰 𝘢𝘯𝘢𝘭𝘪𝘻𝘻𝘢 𝘭𝘢 𝘱𝘦𝘳𝘴𝘪𝘴𝘵𝘦𝘯𝘻𝘢 𝘥𝘪 𝘦𝘭𝘦𝘮𝘦𝘯𝘵𝘪 𝘱𝘳𝘦𝘤𝘳𝘪𝘴𝘵𝘪𝘢𝘯𝘪 𝘯𝘦𝘭𝘭𝘦 𝘱𝘳𝘢𝘵𝘪𝘤𝘩𝘦 𝘧𝘶𝘯𝘦𝘳𝘢𝘳𝘪𝘦 𝘮𝘦𝘳𝘪𝘥𝘪𝘰𝘯𝘢𝘭𝘪.

[14] 𝘓𝘢 𝘥𝘪𝘮𝘦𝘯𝘴𝘪𝘰𝘯𝘦 𝘤𝘢𝘳𝘪𝘵𝘢𝘵𝘪𝘷𝘢 𝘥𝘦𝘭𝘭𝘦 𝘧𝘦𝘴𝘵𝘦 𝘱𝘢𝘴𝘲𝘶𝘢𝘭𝘪 𝘦̀ 𝘢𝘵𝘵𝘦𝘴𝘵𝘢𝘵𝘢 𝘪𝘯 𝘵𝘶𝘵𝘵𝘦 𝘭𝘦 𝘤𝘶𝘭𝘵𝘶𝘳𝘦 𝘤𝘳𝘪𝘴𝘵𝘪𝘢𝘯𝘦. 𝘕𝘦𝘭𝘭'𝘌𝘶𝘳𝘰𝘱𝘢 𝘮𝘦𝘥𝘪𝘦𝘷𝘢𝘭𝘦, 𝘪𝘭 𝘤𝘪𝘣𝘰 𝘣𝘦𝘯𝘦𝘥𝘦𝘵𝘵𝘰 𝘷𝘦𝘯𝘪𝘷𝘢 𝘳𝘦𝘨𝘰𝘭𝘢𝘳𝘮𝘦𝘯𝘵𝘦 𝘥𝘪𝘴𝘵𝘳𝘪𝘣𝘶𝘪𝘵𝘰 𝘢𝘪 𝘱𝘰𝘷𝘦𝘳𝘪.

[15] 𝘓𝘦 𝘴𝘤𝘢𝘮𝘱𝘢𝘨𝘯𝘢𝘵𝘦 𝘥𝘦𝘭 𝘭𝘶𝘯𝘦𝘥𝘪̀ 𝘥𝘦𝘭𝘭'𝘈𝘯𝘨𝘦𝘭𝘰 (𝘥𝘦𝘵𝘵𝘰 𝘢𝘯𝘤𝘩𝘦 "𝘗𝘢𝘴𝘲𝘶𝘦𝘵𝘵𝘢") 𝘴𝘰𝘯𝘰 𝘶𝘯𝘢 𝘵𝘳𝘢𝘥𝘪𝘻𝘪𝘰𝘯𝘦 𝘥𝘪𝘧𝘧𝘶𝘴𝘢 𝘪𝘯 𝘵𝘶𝘵𝘵𝘢 𝘐𝘵𝘢𝘭𝘪𝘢. 𝘈 𝘕𝘢𝘱𝘰𝘭𝘪, 𝘢𝘷𝘦𝘷𝘢𝘯𝘰 𝘶𝘯𝘢 𝘤𝘰𝘯𝘯𝘰𝘵𝘢𝘻𝘪𝘰𝘯𝘦 𝘱𝘢𝘳𝘵𝘪𝘤𝘰𝘭𝘢𝘳𝘦 𝘭𝘦𝘨𝘢𝘵𝘢 𝘢𝘭𝘭'𝘶𝘴𝘢𝘯𝘻𝘢 𝘥𝘪 𝘶𝘴𝘤𝘪𝘳𝘦 𝘥𝘢𝘭𝘭𝘦 𝘮𝘶𝘳𝘢 𝘤𝘪𝘵𝘵𝘢𝘥𝘪𝘯𝘦 𝘱𝘦𝘳 𝘱𝘢𝘴𝘴𝘢𝘳𝘦 𝘭𝘢 𝘨𝘪𝘰𝘳𝘯𝘢𝘵𝘢 𝘯𝘦𝘪 𝘤𝘢𝘮𝘱𝘪.

[16] 𝘚𝘶𝘭𝘭𝘢 𝘱𝘦𝘳𝘴𝘪𝘴𝘵𝘦𝘯𝘻𝘢 𝘥𝘦𝘪 𝘨𝘦𝘴𝘵𝘪 𝘵𝘳𝘢𝘥𝘪𝘻𝘪𝘰𝘯𝘢𝘭𝘪, 𝘤𝘧𝘳. 𝘋𝘦 𝘚𝘪𝘮𝘰𝘯𝘦, 𝘙., 𝘐𝘭 𝘴𝘦𝘨𝘯𝘰 𝘥𝘪 𝘝𝘪𝘳𝘨𝘪𝘭𝘪𝘰, 𝘕𝘢𝘱𝘰𝘭𝘪, 1982. 𝘓'𝘦𝘵𝘯𝘰𝘮𝘶𝘴𝘪𝘤𝘰𝘭𝘰𝘨𝘰 𝘢𝘯𝘢𝘭𝘪𝘻𝘻𝘢 𝘤𝘰𝘮𝘦 𝘪 𝘳𝘪𝘵𝘪 𝘦 𝘭𝘦 𝘶𝘴𝘢𝘯𝘻𝘦 𝘱𝘰𝘱𝘰𝘭𝘢𝘳𝘪 𝘤𝘰𝘯𝘴𝘦𝘳𝘷𝘪𝘯𝘰 𝘵𝘳𝘢𝘤𝘤𝘦 𝘥𝘪 𝘴𝘪𝘨𝘯𝘪𝘧𝘪𝘤𝘢𝘵𝘪 𝘢𝘯𝘵𝘪𝘤𝘩𝘪 𝘢𝘯𝘤𝘩𝘦 𝘲𝘶𝘢𝘯𝘥𝘰 𝘭𝘢 𝘤𝘰𝘴𝘤𝘪𝘦𝘯𝘻𝘢 𝘥𝘦𝘭 𝘭𝘰𝘳𝘰 𝘴𝘪𝘨𝘯𝘪𝘧𝘪𝘤𝘢𝘵𝘰 𝘰𝘳𝘪𝘨𝘪𝘯𝘢𝘳𝘪𝘰 𝘴𝘪 𝘦̀ 𝘱𝘦𝘳𝘥𝘶𝘵𝘢.

𝘉𝘐𝘉𝘓𝘐𝘖𝘎𝘙𝘈𝘍𝘐𝘈 𝘌 𝘓𝘌𝘛𝘛𝘜𝘙𝘌 𝘊𝘖𝘕𝘚𝘐𝘎𝘓𝘐𝘈𝘛𝘌

𝘚𝘶𝘭𝘭𝘦 𝘵𝘳𝘢𝘥𝘪𝘻𝘪𝘰𝘯𝘪 𝘴𝘭𝘢𝘷𝘦 𝘦 𝘣𝘢𝘭𝘵𝘪𝘤𝘩𝘦

𝘒𝘯𝘢𝘣, 𝘚𝘰𝘱𝘩𝘪𝘦 𝘏𝘰𝘥𝘰𝘳𝘰𝘸𝘪𝘤𝘻, 𝘗𝘰𝘭𝘪𝘴𝘩 𝘊𝘶𝘴𝘵𝘰𝘮𝘴, 𝘛𝘳𝘢𝘥𝘪𝘵𝘪𝘰𝘯𝘴 & 𝘍𝘰𝘭𝘬𝘭𝘰𝘳𝘦, 𝘏𝘪𝘱𝘱𝘰𝘤𝘳𝘦𝘯𝘦 𝘉𝘰𝘰𝘬𝘴, 𝘕𝘦𝘸 𝘠𝘰𝘳𝘬, 2024 (𝘦𝘥𝘪𝘻𝘪𝘰𝘯𝘦 𝘵𝘢𝘴𝘤𝘢𝘣𝘪𝘭𝘦 𝘪𝘭𝘭𝘶𝘴𝘵𝘳𝘢𝘵𝘢).

𝘕𝘪𝘦𝘥𝘦𝘳𝘭𝘦, 𝘓𝘶𝘣𝘰𝘳, 𝘔𝘢𝘯𝘶𝘢𝘭𝘦 𝘥𝘪 𝘢𝘯𝘵𝘪𝘤𝘩𝘪𝘵𝘢̀ 𝘴𝘭𝘢𝘷𝘦, 𝘵𝘳𝘢𝘥. 𝘪𝘵., 𝘙𝘰𝘮𝘢, 1925.

𝘛𝘢𝘳𝘤𝘻𝘢𝘭, 𝘚., 𝘓𝘦 𝘵𝘳𝘢𝘥𝘪𝘻𝘪𝘰𝘯𝘪 𝘱𝘰𝘱𝘰𝘭𝘢𝘳𝘪 𝘥𝘦𝘪 𝘱𝘰𝘱𝘰𝘭𝘪 𝘴𝘭𝘢𝘷𝘪, 𝘔𝘪𝘭𝘢𝘯𝘰, 1992.

𝘚𝘶𝘭 𝘴𝘪𝘮𝘣𝘰𝘭𝘪𝘴𝘮𝘰 𝘥𝘦𝘭𝘭'𝘶𝘰𝘷𝘰 𝘯𝘦𝘭𝘭𝘦 𝘤𝘶𝘭𝘵𝘶𝘳𝘦 𝘮𝘦𝘥𝘪𝘵𝘦𝘳𝘳𝘢𝘯𝘦𝘦

𝘋𝘦 𝘔𝘢𝘳𝘵𝘪𝘯𝘰, 𝘌𝘳𝘯𝘦𝘴𝘵𝘰, 𝘚𝘶𝘥 𝘦 𝘔𝘢𝘨𝘪𝘢, 𝘍𝘦𝘭𝘵𝘳𝘪𝘯𝘦𝘭𝘭𝘪, 𝘔𝘪𝘭𝘢𝘯𝘰, 1959.

𝘋𝘦 𝘚𝘪𝘮𝘰𝘯𝘦, 𝘙𝘰𝘣𝘦𝘳𝘵𝘰, 𝘐𝘭 𝘴𝘦𝘨𝘯𝘰 𝘥𝘪 𝘝𝘪𝘳𝘨𝘪𝘭𝘪𝘰, 𝘌𝘥𝘪𝘵𝘰𝘳𝘪𝘢𝘭𝘦 𝘚𝘤𝘪𝘦𝘯𝘵𝘪𝘧𝘪𝘤𝘢, 𝘕𝘢𝘱𝘰𝘭𝘪, 1982.

𝘌𝘭𝘪𝘢𝘥𝘦, 𝘔𝘪𝘳𝘤𝘦𝘢, 𝘛𝘳𝘢𝘵𝘵𝘢𝘵𝘰 𝘥𝘪 𝘴𝘵𝘰𝘳𝘪𝘢 𝘥𝘦𝘭𝘭𝘦 𝘳𝘦𝘭𝘪𝘨𝘪𝘰𝘯𝘪, 𝘌𝘪𝘯𝘢𝘶𝘥𝘪, 𝘛𝘰𝘳𝘪𝘯𝘰, 1954 (𝘤𝘢𝘱𝘪𝘵𝘰𝘭𝘰 𝘴𝘶𝘭 𝘴𝘪𝘮𝘣𝘰𝘭𝘪𝘴𝘮𝘰 𝘤𝘰𝘴𝘮𝘰𝘨𝘰𝘯𝘪𝘤𝘰).

𝘚𝘶𝘭𝘭𝘦 𝘵𝘳𝘢𝘥𝘪𝘻𝘪𝘰𝘯𝘪 𝘱𝘢𝘴𝘲𝘶𝘢𝘭𝘪 𝘪𝘯 𝘐𝘵𝘢𝘭𝘪𝘢

𝘗𝘢𝘻𝘻𝘪𝘯𝘪, 𝘈𝘥𝘢𝘭𝘣𝘦𝘳𝘵𝘰, 𝘓𝘢 𝘮𝘦𝘥𝘪𝘤𝘪𝘯𝘢 𝘱𝘰𝘱𝘰𝘭𝘢𝘳𝘦 𝘪𝘯 𝘐𝘵𝘢𝘭𝘪𝘢, 𝘛𝘳𝘪𝘦𝘴𝘵𝘦, 1948 (𝘤𝘢𝘱𝘪𝘵𝘰𝘭𝘰 𝘴𝘶 𝘶𝘴𝘢𝘯𝘻𝘦 𝘦 𝘤𝘳𝘦𝘥𝘦𝘯𝘻𝘦 𝘱𝘢𝘴𝘲𝘶𝘢𝘭𝘪).

𝘗𝘪𝘵𝘳𝘦̀, 𝘎𝘪𝘶𝘴𝘦𝘱𝘱𝘦, 𝘉𝘪𝘣𝘭𝘪𝘰𝘵𝘦𝘤𝘢 𝘥𝘦𝘭𝘭𝘦 𝘵𝘳𝘢𝘥𝘪𝘻𝘪𝘰𝘯𝘪 𝘱𝘰𝘱𝘰𝘭𝘢𝘳𝘪 𝘴𝘪𝘤𝘪𝘭𝘪𝘢𝘯𝘦, 𝘗𝘢𝘭𝘦𝘳𝘮𝘰, 1889 (𝘤𝘰𝘯𝘵𝘪𝘦𝘯𝘦 𝘳𝘪𝘧𝘦𝘳𝘪𝘮𝘦𝘯𝘵𝘪 𝘢𝘭𝘭𝘦 𝘶𝘰𝘷𝘢 𝘥𝘦𝘤𝘰𝘳𝘢𝘵𝘦).

𝘈𝘮𝘢𝘭𝘧𝘪, 𝘎𝘢𝘦𝘵𝘢𝘯𝘰, 𝘛𝘳𝘢𝘥𝘪𝘻𝘪𝘰𝘯𝘪 𝘦𝘥 𝘶𝘴𝘪 𝘯𝘦𝘭𝘭𝘢 𝘱𝘦𝘯𝘪𝘴𝘰𝘭𝘢 𝘴𝘰𝘳𝘳𝘦𝘯𝘵𝘪𝘯𝘢, 𝘗𝘢𝘭𝘦𝘳𝘮𝘰, 1890.

𝘚𝘶𝘪 𝘚𝘰𝘳𝘣𝘪 𝘦 𝘭𝘦 𝘮𝘪𝘯𝘰𝘳𝘢𝘯𝘻𝘦 𝘴𝘭𝘢𝘷𝘦 𝘪𝘯 𝘎𝘦𝘳𝘮𝘢𝘯𝘪𝘢

𝘒𝘶𝘯𝘻𝘦, 𝘗𝘦𝘵𝘦𝘳, 𝘋𝘪𝘦 𝘚𝘰𝘳𝘣𝘦𝘯 𝘪𝘯 𝘥𝘦𝘳 𝘖𝘣𝘦𝘳𝘭𝘢𝘶𝘴𝘪𝘵𝘻, 𝘉𝘢𝘶𝘵𝘻𝘦𝘯, 2000.

𝘚𝘦𝘳𝘷𝘶𝘴, 𝘈𝘯𝘥𝘳𝘦𝘢𝘴, 𝘚𝘰𝘳𝘣𝘪𝘴𝘤𝘩𝘦 𝘖𝘴𝘵𝘦𝘳𝘵𝘳𝘢𝘥𝘪𝘵𝘪𝘰𝘯𝘦𝘯, 𝘋𝘰𝘮𝘰𝘸𝘪𝘯𝘢-𝘝𝘦𝘳𝘭𝘢𝘨, 2015.

𝘍𝘰𝘯𝘵𝘪 𝘢𝘨𝘪𝘰𝘨𝘳𝘢𝘧𝘪𝘤𝘩𝘦 𝘮𝘦𝘥𝘪𝘦𝘷𝘢𝘭𝘪

𝘝𝘪𝘵𝘢 𝘚𝘢𝘯𝘤𝘵𝘢𝘦 𝘏𝘦𝘥𝘸𝘪𝘨𝘪𝘴, 𝘦𝘥. 𝘤𝘳𝘪𝘵𝘪𝘤𝘢 𝘢 𝘤𝘶𝘳𝘢 𝘥𝘪 𝘈. 𝘚𝘦𝘮𝘬𝘰𝘸𝘪𝘤𝘻, 𝘊𝘳𝘢𝘤𝘰𝘷𝘪𝘢, 1923.

𝘔𝘰𝘯𝘶𝘮𝘦𝘯𝘵𝘢 𝘗𝘰𝘭𝘰𝘯𝘪𝘢𝘦 𝘏𝘪𝘴𝘵𝘰𝘳𝘪𝘤𝘢, 𝘷𝘰𝘭𝘭. 𝘐𝘝-𝘝, 𝘝𝘢𝘳𝘴𝘢𝘷𝘪𝘢, 1961.

𝘖𝘱𝘦𝘳𝘦 𝘨𝘦𝘯𝘦𝘳𝘢𝘭𝘪 𝘥𝘪 𝘤𝘰𝘯𝘴𝘶𝘭𝘵𝘢𝘻𝘪𝘰𝘯𝘦

𝘌𝘯𝘤𝘪𝘤𝘭𝘰𝘱𝘦𝘥𝘪𝘢 𝘥𝘦𝘭𝘭𝘦 𝘳𝘦𝘭𝘪𝘨𝘪𝘰𝘯𝘪, 𝘥𝘪𝘳𝘦𝘵𝘵𝘢 𝘥𝘢 𝘔. 𝘌𝘭𝘪𝘢𝘥𝘦, 𝘔𝘪𝘭𝘢𝘯𝘰, 1995 (𝘷𝘰𝘤𝘦 "𝘜𝘰𝘷𝘰").

𝘋𝘪𝘻𝘪𝘰𝘯𝘢𝘳𝘪𝘰 𝘥𝘦𝘪 𝘴𝘪𝘮𝘣𝘰𝘭𝘪, 𝘢 𝘤𝘶𝘳𝘢 𝘥𝘪 𝘑. 𝘊𝘩𝘦𝘷𝘢𝘭𝘪𝘦𝘳 𝘦 𝘈. 𝘎𝘩𝘦𝘦𝘳𝘣𝘳𝘢𝘯𝘵, 𝘔𝘪𝘭𝘢𝘯𝘰, 1986.