{"id":4948,"date":"2024-05-16T13:46:39","date_gmt":"2024-05-16T13:46:39","guid":{"rendered":"https:\/\/octopusinstitute.com\/?p=4948"},"modified":"2024-05-17T13:40:39","modified_gmt":"2024-05-17T13:40:39","slug":"hybrid-warfare-through-graffities","status":"publish","type":"post","link":"https:\/\/octopusinstitute.com\/pt\/hybrid-warfare-through-graffities\/","title":{"rendered":"Guerra h\u00edbrida atrav\u00e9s de graffiti"},"content":{"rendered":"

ISSN ON-LINE: 3006-5925, ISSN IMPRESSO: 3006-5917<\/mark><\/em><\/strong><\/p>\n\n\n\n

Em 2020, foi iniciada a constru\u00e7\u00e3o de um objeto conhecido como \u201cIgreja da Trindade\u201d, conforme relatado por fontes p\u00fablicas s\u00e9rvias. Este objeto est\u00e1 situado em Nak\u00ebll, Peja, uma pequena estrutura rodeada por m\u00faltiplos cemit\u00e9rios antigos, com f\u00e1cil acesso \u00e0 estrada principal da aldeia.<\/p>\n\n\n\n

A propriedade que abriga o objeto n\u00e3o possui barreiras de prote\u00e7\u00e3o substanciais, permitindo acesso irrestrito a todos os interessados.<\/p>\n\n\n\n

A estrutura carece de identifica\u00e7\u00e3o clara como edif\u00edcio religioso, como uma cruz ortodoxa. At\u00e9 recentemente, servia de abrigo para dependentes qu\u00edmicos, transit\u00f3rios e moradores de rua.<\/p>\n\n\n\n

\"\"<\/figure>\n\n\n\n

No meio da escalada das tens\u00f5es na guerra h\u00edbrida, a S\u00e9rvia recorreu \u00e0 inscri\u00e7\u00e3o de graffiti neste edif\u00edcio religioso, atribuindo estas a\u00e7\u00f5es aos albaneses.<\/p>\n\n\n\n

O Instituto OCTOPUS analisou cuidadosamente as gratifica\u00e7\u00f5es nas paredes interiores da igreja e tamb\u00e9m analisou detalhadamente a situa\u00e7\u00e3o envolvente e a situa\u00e7\u00e3o de seguran\u00e7a entre o Kosovo e a S\u00e9rvia.<\/p>\n\n\n\n

De acordo com essas an\u00e1lises, temos os seguintes resultados:<\/p>\n\n\n\n

Com base na foto n\u00famero 2, ao analisar a frase \u201cAllahu Akbar\u201d, erros ortogr\u00e1ficos percept\u00edveis indicam falta de profici\u00eancia na l\u00edngua albanesa por parte do indiv\u00edduo que escreveu este grafite.<\/p>\n\n\n\n

A pessoa que escreveu as gratifica\u00e7\u00f5es tem a caligrafia principal s\u00e9rvia com letras cir\u00edlicas e tamb\u00e9m n\u00e3o tem conhecimento da religi\u00e3o isl\u00e2mica.<\/p>\n\n\n\n

\"\"<\/figure>\n\n\n\n

A palavra \u201cAKbaR\u201d, os mu\u00e7ulmanos n\u00e3o escrevem com letra mai\u00fascula, e tamb\u00e9m a \u00faltima letra ainda \u00e9 mai\u00fascula, o que lembra o aprendizado psicol\u00f3gico de escrever cartas na forma de letras cir\u00edlicas. Por causa da n\u00e3o compara\u00e7\u00e3o com Al\u00e1, os mu\u00e7ulmanos tamb\u00e9m n\u00e3o colocam Akbar em mai\u00fascula, e essas duas palavras se contradizem.<\/p>\n\n\n\n

A frase acima na mesma imagem tem ainda mais problemas onde na verdade diz \u201cIslani \u00ebsht\u00eb feju(y) e votme e Vertet\u201d, eles queriam escrever \u201cO Isl\u00e3 \u00e9 a \u00fanica religi\u00e3o verdadeira\u201d, mas escreveram algo como \u201cIslan \u00e9 o \u00fanico True religiu(y)\u201d, ent\u00e3o o autor, n\u00e3o conhecendo a l\u00edngua albanesa, n\u00e3o sabia escrever a palavra \u201creligi\u00e3o\u201d, ele ou ela escreveu \u201cfeju(y) (religiu(y))\u201d, ent\u00e3o, n\u00e3o sabendo a palavra correta, ele ou ela n\u00e3o sabia como marcar a letra \u201ca\u201d na l\u00edngua albanesa no final. O autor tamb\u00e9m, por n\u00e3o conhecer a l\u00edngua albanesa, n\u00e3o sabia escrever a palavra \u201cvetme (apenas)\u201d e escreveu \u201cvotme (omly)\u201d e no final o autor tamb\u00e9m escreveu a palavra \u201cv\u00ebrtet\u00eb (verdade)\u201d como \u201c Vertet\u201d onde come\u00e7ou com letra mai\u00fascula e o mesmo que colocou a letra \u201c\u00eb\u201d na palavra \u201c\u00ebsht\u00eb (\u00e9)\u201d n\u00e3o soube colocar a mesma letra na palavra \u201cVertet\u201d<\/p>\n\n\n\n

Na foto n\u00famero 3, notamos ainda mais argumentos de que as pessoas que escreveram os grafites n\u00e3o eram albaneses, n\u00e3o conhecem a l\u00edngua albanesa e tamb\u00e9m a caligrafia principal \u00e9 a l\u00edngua s\u00e9rvia com letras cir\u00edlicas.<\/p>\n\n\n\n

\"\"<\/figure>\n\n\n\n

 Ent\u00e3o, desde o in\u00edcio da frase ele come\u00e7ou com a letra \u201cC\u201d que na l\u00edngua cir\u00edlica s\u00e9rvia \u00e9 entendida como a letra \u201cS\u201d, ent\u00e3o ele fez uma re-nota tentando alinh\u00e1-la com a letra albanesa \u201cS\u201d mas n\u00e3o teve sucesso. Da mesma forma, a letra \u201cj\u201d \u00e9 escrita sem ponto acima da letra, assim como a letra \u201ci\u201d que \u00e9 escrita sem ponto acima da palavra \u201cigreja\u201d. Da mesma forma, a palavra \u201cqueremos\u201d come\u00e7a com \u201cD\u201d mai\u00fasculo, com \u201cj\u201d sem ponto, e a palavra \u201cmesquita\u201d \u00e9 escrita como \u201cgjami\u201d. Esta \u00faltima palavra \u00e9 conhecida por todos os mu\u00e7ulmanos como escrev\u00ea-la corretamente, independentemente do seu n\u00edvel de escolaridade. Ent\u00e3o, isso mostra que na foto 3 tamb\u00e9m h\u00e1 uma segunda pessoa que escreve grafites dentro dos muros e tamb\u00e9m tem a l\u00edngua s\u00e9rvia com letras cir\u00edlicas como l\u00edngua principal. O autor do graffiti tamb\u00e9m tentou fazer um graffiti, mas n\u00e3o conseguiu atingir o objetivo.<\/p>\n\n\n\n

Na foto notamos tamb\u00e9m uma p\u00e1 que foi colocada ou recolocada ap\u00f3s a escrita do grafite. A p\u00e1 n\u00e3o era utilizada pelos artes\u00e3os que ali trabalhavam, pois os artes\u00e3os n\u00e3o deixam seus equipamentos de trabalho sujos para evitar danos.<\/p>\n\n\n\n

\"\"<\/figure>\n\n\n\n

Na foto n\u00famero 4 notamos um novo manuscrito onde podemos falar sobre a terceira pessoa envolvida na escrita do graffiti, que tamb\u00e9m n\u00e3o tem conhecimento da l\u00edngua albanesa. O autor do graffiti queria muito escrever \u201ctire esta igreja daqui, s\u00f3 h\u00e1 mu\u00e7ulmanos aqui\u201d, mas na realidade falhou e revelou-se a si mesmo e ao prop\u00f3sito do graffiti. A pessoa n\u00e3o sabia escrever uma \u00fanica palavra na forma correta, mas sua caligrafia tamb\u00e9m o trai ao revelar que sabe escrever em letras cir\u00edlicas e muito pouco em letras latinas e menos ainda em l\u00edngua albanesa. Na palavra \u201cigreja\u201d ele n\u00e3o sabia escrev\u00ea-la corretamente na l\u00edngua albanesa, at\u00e9 a letra \u201cs\u201d se assemelhava mais \u00e0s letras cir\u00edlicas.<\/p>\n\n\n\n

Da mesma forma, a palavra \u201cka\u201d foi tra\u00edda pelo manuscrito ao desviar-se para a segunda letra na forma de letras cir\u00edlicas.<\/p>\n\n\n\n

Na foto n\u00famero 5, na palavra \u201cALLAHU\u201d h\u00e1 erros. Como a letra \u201cLL\u201d n\u00e3o existe na l\u00edngua s\u00e9rvia, o autor n\u00e3o sabia escrev\u00ea-la corretamente e desviou-se escrevendo \u201cII\u201d duas letras mai\u00fasculas \u201cI\u201d na l\u00edngua albanesa ou duas letras min\u00fasculas \u201cl\u201d, mas que est\u00e3o em conflito com outras letras mai\u00fasculas. Quanto \u00e0 palavra \u201cEkbar\u201d tamb\u00e9m temos muitos testemunhos, onde na foto 1 vimos que a mesma palavra estava escrita com a letra \u201cA\u201d, na foto n\u00famero 5 estavam escritas com \u201cE\u201d que n\u00e3o se assemelham com as letras na l\u00edngua albanesa, mas com os cir\u00edlicos, e no final a palavra termina com uma linha preta grossa e sem sentido.<\/p>\n\n\n\n

Na foto n\u00famero 5 notamos tamb\u00e9m que h\u00e1 chaves na porta. A porta s\u00f3 pode ser aberta por pessoas respons\u00e1veis e que a porta n\u00e3o foi aberta \u00e0 for\u00e7a, mas foi aberta de forma normal.<\/p>\n\n\n\n

\"\"<\/figure>\n\n\n\n

A foto 5 mostra as chaves dentro do arm\u00e1rio da porta, o que mostra que os agressores tinham acesso legal ao estabelecimento e as chaves geralmente ficam com o capataz e os propriet\u00e1rios do estabelecimento, para que tivessem livre acesso. Os perpetradores escreveram nas paredes interiores para que n\u00e3o fossem notados pelos transeuntes ou residentes que poderiam ent\u00e3o ser denunciados e descobertos pelas ag\u00eancias de seguran\u00e7a no Kosovo.<\/p>\n\n\n\n

Pelas fotos, notamos que algumas pessoas t\u00eam pouco conhecimento da escrita da l\u00edngua albanesa.<\/p>\n\n\n\n

O prop\u00f3sito do graffiti<\/strong><\/p>\n\n\n\n

Estes graffiti surgem ap\u00f3s o forte envolvimento da S\u00e9rvia na guerra h\u00edbrida contra o Kosovo na esfera pol\u00edtica e de seguran\u00e7a.<\/p>\n\n\n\n

Nas atividades cont\u00ednuas da guerra h\u00edbrida da S\u00e9rvia contra a Rep\u00fablica do Kosovo, tamb\u00e9m foram utilizadas as quest\u00f5es abaixo:<\/p>\n\n\n\n

\u2013 A insist\u00eancia do patriarca s\u00e9rvio Porfirije em entrar no Kosovo sem permiss\u00e3o das autoridades do Kosovo.<\/p>\n\n\n\n

\u2013 A campanha da S\u00e9rvia contra o Kosovo pela ades\u00e3o ao Conselho da Europa.<\/p>\n\n\n\n

\u2013 A insist\u00eancia do Governo da S\u00e9rvia na utiliza\u00e7\u00e3o ilegal do dinar, apesar da decis\u00e3o do CBK sobre a utiliza\u00e7\u00e3o do euro como \u00fanica moeda oficial no Kosovo.<\/p>\n\n\n\n

\u2013 A quest\u00e3o da concess\u00e3o de associa\u00e7\u00e3o aos s\u00e9rvios.<\/p>\n\n\n\n

\u2013 Contrabando de armas no norte do Kosovo.<\/p>\n\n\n\n

A S\u00e9rvia incluiu estas quest\u00f5es na guerra h\u00edbrida contra o Kosovo e utiliza-as de forma constante, alimentando tamb\u00e9m tens\u00f5es inter\u00e9tnicas na sua falsa narrativa de \u201cs\u00e9rvios amea\u00e7ados\u201d noutras regi\u00f5es da Rep\u00fablica do Kosovo.<\/p>\n\n\n\n

O atual Presidente da S\u00e9rvia, Aleksandar Vu\u010di\u0107, na altura em que era Ministro da Propaganda no regime de Slobodan Milosevic, tamb\u00e9m conhecido como o Gebelsi S\u00e9rvio, tinha o papel de difundir not\u00edcias falsas e propaganda. Ele continua agora com a mesma atitude, mesmo quando est\u00e1 no comando como autocrata das institui\u00e7\u00f5es da S\u00e9rvia. Estas not\u00edcias e outras semelhantes s\u00e3o divulgadas primeiramente pelo meio s\u00e9rvio Kosovo Online.<\/p>\n\n\n\n

Argumenta-se que a quest\u00e3o do graffiti foi montada pelo governo da S\u00e9rvia, uma vez que na S\u00e9rvia os meios de comunica\u00e7\u00e3o s\u00e3o controlados por Vu\u010di\u0107 e, portanto, atrav\u00e9s destes graffiti ele conseguiria na sua propaganda evocar a vitimiza\u00e7\u00e3o entre os internacionais e o chauvinismo entre o povo s\u00e9rvio. Por isso, n\u00e3o \u00e9 por acaso que escolheu Dejan Ristici como Ministro da Informa\u00e7\u00e3o, que, antes de se tornar ministro, teve o cuidado de doutrinar nos estudantes, professores e no povo s\u00e9rvio o sentimento de vitimiza\u00e7\u00e3o, genoc\u00eddio e nacionalismo chauvinista entre os S\u00e9rvios.<\/p>\n\n\n\n

No passado, como \u00e9 do conhecimento mundial, os pol\u00edticos s\u00e9rvios, em coopera\u00e7\u00e3o com os servi\u00e7os secretos s\u00e9rvios, cometeram actos ainda mais rudes, acusando os albaneses para depois justificarem as suas ac\u00e7\u00f5es.<\/p>\n\n\n\n

Vale a pena mencionar o caso \u201cPanda\u201d em Pej\u00eb, onde 6 jovens de nacionalidade s\u00e9rvia foram mortos num caf\u00e9 em 1998. Neste caso, v\u00e1rios albaneses foram acusados e condenados pelos tribunais s\u00e9rvios. A unidade especial da UDB \u201cBoinas Vermelhas\u201d vingou-se imediatamente de outros albaneses inocentes com assassinatos, tortura, viol\u00eancia, pris\u00e3o, saques e v\u00e1rios maus-tratos. Em 2013, o pr\u00f3prio Aleksandar Vu\u010di\u0107 admitiu publicamente que este terr\u00edvel acto criminoso foi cometido pelas pr\u00f3prias institui\u00e7\u00f5es de seguran\u00e7a s\u00e9rvias, membros da pol\u00edcia especial e criminosos s\u00e9rvios que operavam na altura, mas como uma ac\u00e7\u00e3o foi planeada pela UDB s\u00e9rvia.<\/p>\n\n\n\n

Considerando que, ap\u00f3s o ataque terrorista em Banjska, em Setembro de 2023, ficou provado que o regime de Vu\u010di\u0107 utiliza igrejas s\u00e9rvias no Kosovo para abrigar armas e terroristas.<\/p>\n\n\n\n

Portanto, os factos, as an\u00e1lises e as circunst\u00e2ncias pol\u00edticas e de seguran\u00e7a levam-nos ao facto de este acto ter sido organizado pela pr\u00f3pria S\u00e9rvia e pelo seu servi\u00e7o secreto.<\/p>","protected":false},"excerpt":{"rendered":"

ISSN ONLINE: 3006-5925, ISSN PRINT: 3006-5917 In 2020, construction commenced on an object known as the \u201cTrinity Church\u201d, as reported by Serbian public sources. This object is situated in Nak\u00ebll, Peja, a small structure surrounded by multiple old cemeteries, with easy access to the village\u2019s main road. The property housing the object lacks any substantial<\/p>","protected":false},"author":2,"featured_media":4956,"comment_status":"open","ping_status":"open","sticky":false,"template":"","format":"standard","meta":{"twitterCardType":"","cardImageID":0,"cardImage":"","cardTitle":"","cardDesc":"","cardImageAlt":"","cardPlayer":"","cardPlayerWidth":0,"cardPlayerHeight":0,"cardPlayerStream":"","cardPlayerCodec":"","footnotes":""},"categories":[27],"tags":[],"class_list":{"0":"post-4948","1":"post","2":"type-post","3":"status-publish","4":"format-standard","5":"has-post-thumbnail","7":"category-analysis"},"aioseo_notices":[],"yoast_head":"\nHybrid warfare through graffiti - Octopus Institute<\/title>\n<meta name=\"robots\" content=\"index, follow, max-snippet:-1, max-image-preview:large, max-video-preview:-1\" \/>\n<link rel=\"canonical\" href=\"https:\/\/octopusinstitute.com\/pt\/hybrid-warfare-through-graffities\/\" \/>\n<meta property=\"og:locale\" content=\"pt_PT\" \/>\n<meta property=\"og:type\" content=\"article\" \/>\n<meta property=\"og:title\" content=\"Hybrid warfare through graffiti\" \/>\n<meta property=\"og:description\" content=\"ISSN ONLINE: 3006-5925, ISSN PRINT: 3006-5917 In 2020, construction commenced on an object known as the \u201cTrinity Church\u201d, as reported by Serbian public sources. This object is situated in Nak\u00ebll, Peja, a small structure surrounded by multiple old cemeteries, with easy access to the village\u2019s main road. 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