Le FC Barcelone est allé au bout de ses idées pour remporter la Ligue des champions aux dépens de Manchester United (2-0), la troisième de son histoire. Pep Guardiola, pour sa première année sur le banc, aura mené son équipe à un triplé Liga - Copa - C1 historique. Les enfants feront de beaux rêves.
INIESTA a éclaboussé le match de sa classe, du début à la fin, où il a reçu une standing ovation. MESSI a mis du temps à démarrer mais sut être dangereux puis décisif. PIQUE et BUSQUETS ont assumé avec maturité. A Manchester, PARK et ROONEY ont été trop seuls. GIGGS n'a pas existé avant la 50e minute. HENRY gagne sa première C1 mais peut regretter deux frappes trop molles.
On le disait si fort. La meilleure équipe du monde, la plus complète, et terriblement affamée. Mais Manchester United, comme tant d'autres cette saison, est tombé sur meilleur que lui, mercredi en finale de la Ligue des champions, avec cet incroyable FC Barcelone de Pep Guardiola. Champion d'Espagne, vainqueur de la Copa del Rey, il a dominé et remporté le match de l'année en allant au bout de ses idées, en imposant sa maîtrise collective, comme à peu près face à tous les autres cette saison. Un but par mi-temps, Eto'o (10e) et Messi (70e) ont fait entrer cette nouvelle Dream Team dans la légende. Celles des plus belles équipes à voir jouer. Et celles qui gagnent. Le triplé historique qu'il vient de remporter succède à ceux du Celtic (1967), de l'Ajax (1972), du PSV Eindhoven (1988) et de Manchester (1999). Ce MU qu'on disait si maître de ses atouts, dix ans après, a sombré dans une nervosité grossière en fin de match. Le jaune récolté par Scholes pour sa charge sur Busquets valait un rouge (79e). Cristiano Ronaldo, vexé de ne pouvoir faire le show, a fini par disjoncter.
Le grand tort de Manchester United aura été d'être trop souverain dans les dix premières minutes. Privant le Barça de ballons, frappant au but, maître des duels et de l'espace, l'équipe de Ferguson fut frappée d'incompréhension sur la première pénétration du Barça, ponctuée par le but d'Eto'o. S'était-il grisé ? Tout ce qu'elle dégagea ensuite n'eut plus rien à voir : de la fébrilité entre Vidic, Ferdinand et Carrick. Pas d'impact au milieu et une tendance à jouer long qui traduisait déjà une forme d'impuissance. Bien sûr, Manchester avait plus de saignant dans les duels sur les phases offensives. Mais les duels, Barcelone les esquivait le plus souvent grâce à ces séquences de conservation qui sont sa marque de fabrique, et qui se répétèrent, pas forcément très vite d'ailleurs, tout au long de la rencontre.
Barcelone enfin réaliste face aux Anglais
Barcelone, en marquant si vite, a trouvé exactement ce qui lui manque généralement contre les équipes anglaises : du réalisme. A la pause, Manchester avait frappé deux fois plus au but que le Barça... Les clefs du match seraient la possession, la concentration et la réussite, avait dit Ferguson la veille. Barcelone a eu les trois, en plus d'un talent supérieur sur les actions chaudes. L'Ecossais avait peut-être lu le programme du match. Il passait en revue quelques victoires purement tactiques obtenues en finale. Ferguson a tenté le 4-4-2 au départ, le 4-1-4-1 après la pause, en interchangeant les postes, en transformant des attaquants en milieux (Tevez, Rooney). Son équipe s'y est perdu. Barcelone a gagné son soixante-et-unième match de l'année en 4-3-3. En étant lui-même. Brillant comme un soleil. - Cédric ROUQUETTE (à Rome)
Published in 1925, it is widely considered to be F. Scott Fitzgerald's greatest novel. It is also considered a seminal work on the fallibility of the American dream. It focuses on a young man, Jay Gatsby, who, after falling in love with a woman from the social elite, makes a lot of money in an effort to win her love. She marries a man from her own social strata and he dies disillusioned with the concept of a self-made man. Fitzgerald seems to argue that the possibility of social mobility in America is an illusion, and that the social hierarchies of the "New World" are just as rigid as those of Europe.
The novel is also famous as a description of the "Jazz Age," a phrase which Fitzgerald himself coined. After the shock of moving from a policy of isolationism to involvement in World War I, America prospered in what are termed the "Roaring Twenties." The Eighteenth Amendment to the American Constitution, passed in 1919, prohibited the sale and consumption of alcohol in America. "Prohibition" made millionaires out of bootleggers like Gatsby and owners of underground salons, called "speakeasies." Fitzgerald glamorizes the noveau riche of this period to a certain extent in his Jazz Age novel. He describes their beautiful clothing and lavish parties with great attention to detail and wonderful use of colour. However, the author was uncomfortable with the excesses of the period, and his novel sounds many warning notes against excessive love of money and material success.
Fitzgerald's The Great Gatsby was not a great success during his lifetime, but became a smash hit after his death, especially after World War II. It has since become a staple of the canon of American literature, and is taught at many high schools and universities across the country and the world. Four films, an opera, and a play have been made from the text.
Themes
Honesty: Honesty is does not seem to determine which characters are sympathetic and which are not in this novel in quite the same way that it does in others. Nick is able to admire Gatsby despite his knowledge of the man's illegal dealings and bootlegging. Ironically, it is the corrupt Daisy who takes pause at Gatsby's sordid past. Her indignation at his "dishonesty," however, is less moral than class-based. Her sense of why Gatsby should not behave in an immoral manner is based on what she expects from members of her milieu, rather than what she believes to be intrinsically right. The standards for honesty and morality seem to be dependent on class and gender in this novel. Tom finds his wife's infidelity intolerable, however, he does not hesitate to lie to her about his own affair.
Decay: Decay is a word that constantly comes up in The Great Gatsby, which is appropriate in a novel which centres around the death of the American Dream. Decay is most evident in the so-called "valley of ashes." With great virtuosity, Fitzgerald describes a barren wasteland which probably has little to do with the New York landscape and instead serves to comment on the downfall of American society. It seems that the American dream has been perverted, reversed. Gatsby lives in West Egg and Daisy in East Egg; therefore, Gatsby looks East with yearning, rather than West, the traditional direction of American frontier ambitions. Fitzgerald portrays the chauvinistic and racist Tom in a very negative light, clearly scoffing at his apocalyptic vision of the races intermarrying. Fitzgerald's implication seems to be that society has already decayed enough and requires no new twist.
Gender Roles: In some respects, Fitzgerald writes about gender roles in a quite conservative manner. In his novel, men work to earn money for the maintenance of the women. Men are dominant over women, especially in the case of Tom, who asserts his physical strength to subdue them. The only hint of a role reversal is in the pair of Nick and Jordan. Jordan's androgynous name and cool, collected style masculinize her more than any other female character. However, in the end, Nick does exert his dominance over her by ending the relationship. The women in the novel are an interesting group, because they do not divide into the traditional groups of Mary Magdalene and Madonna figures, instead, none of them are pure. Myrtle is the most obviously sensual, but the fact that Jordan and Daisy wear white dresses only highlights their corruption.
Violence: Violence is a key theme in The Great Gatsby, and is most embodied by the character of Tom. An ex-football player, he uses his immense physical strength to intimidate those around him. When Myrtle taunts him with his wife's name, he strikes her across the face. The other source of violence in the novel besides Tom are cars. A new commodity at the time that it was published, Fitzgerald uses cars to symbolize the dangers of modernity and the dangers of wealth. The climax of the novel, the accident that kills Myrtle, is foreshadowed by the conversation between Nick and Jordan about how bad driving can cause explosive violence. The end of the novel, of course, consists of violence against Gatsby. The choice of handgun as a weapon suggests Gatsby's shady past, but it is symbolic that it is his love affair, not his business life, that kills Gatsby in the end.
Class: Class is an unusual theme for an American novel. It is more common to find references to it in European, especially British novels. However, the societies of East and West Egg are deeply divided by the difference between the noveau riche and the older moneyed families. Gatsby is aware of the existence of a class structure in America, because a true meritocracy would put him in touch with some of the finest people, but, as things stand, he is held at arm's length. Gatsby tries desperately to fake status, even buying British shirts and claiming to have attended Oxford in an attempt to justify his position in society. Ultimately, however, it is a class gulf that separates Gatsby and Daisy, and cements the latter in her relationship to her husbad, who is from the same class as she is.
Religion: It is interesting that Fitzgerald chooses to use some religious tropes in a novel that focuses on the American Dream, a concept which leaves no room for religion save for the doctrine of individualism. The most obvious is the image of the "valley of ashes," which exemplifies America's moral state during the "Roaring Twenties." This wasteland is presided over by the empty eyes of an advertisement. Fitzgerald strongly implies that these are the eyes of God. This equation of religion with advertising and material gain are made even more terrifying by the fact that the eyes see nothing and can help no one (for example, this "God" can do nothing to prevent Myrtle or Gatsby's deaths).
World War I: Because The Great Gatsby is set in the Roaring Twenties, the topic of the Great War is unavoidable. The war was crucial to Gatsby's development, providing a brief period of social mobility which, Fitzgerald claims, quickly closed after the war. Gatsby only came into contact with a classy young debutante like Daisy as a result of the fact that he was a soldier and that no one could vouch for whether he was upper-class or not. The war provided him with further opportunities to see the world, and make some money in the service of a millionaire. Gatsby's opportunities closed up after the end of the war, however, when he found upon returning to America that the social structure there was every bit as rigid as it was in Europe. Unable to convince anyone that he is truly upper-class (although his participation in the war gave him some leeway about lying), Gatsby finds himself unable to break into East Egg society.
Tout comme l'Inter Milan en Italie, le FC Barcelone a été sacré devant sa télévision. En effet, le Barça ne peut plus être rejoint par le Real Madrid, qui s'est incliné à Villarreal (2-3). Les Catalans pourront jouer dimanche chez le Real Majorque en pensant uniquement à leur dernier objectif : la finale de la Ligue des champions du 27 mai contre Manchester United.
Pour sa première saison sur le banc catalan, Pep Guardiola a déjà mené son Barça au doublé Coupe-Championnat. Samedi soir, Barcelone a regardé Villarreal battre le Real Madrid (2-3), ce qui lui a octroyé mathématiquement le titre de champion, le 19e de son histoire. Trois jours après son triomphe en finale de la Copa del Rey face à Bilbao (4-1), c'est un deuxième titre pour le Barça. A Majorque, il jouera pour entrer dans l'histoire et battre des records, encore : il n'est qu'à quatre buts du record établi par le Real sur une saison en 1989-9090 (107 réalisations). Avec 86 points, les Blaugrana ne sont qu'à six unités des 92 prises par le Real en 1997 (alors qu'il y avait 22 équipes !).
Le Barça a donc été sacré «sansdescendre du bus» comme avait dit Helenio Herrera avant que son Atletico ne l'emporte un jour 5-2 à Séville au début des années 50. Les Catalans ont profité du faux-pas de leur meilleur ennemi. A Villarreal, le Real Madrid a beaucoup souffert. Très bon tout au long de la rencontre, c'est Robert Pires qui a ouvert le score d'une belle tête suite à un centre d'Ibagaza. L'entrée d'Higuain, inexplicablement laissé sur le banc par Juande Ramos, à la mi-temps a changé la donne : Robben a été moins seul, le Real un peu plus présent offensivement. Et Higuain n'a eu besoin que de deux minutes pour offrir l'égalisation à van der Vaart sur un plateau. C'est également l'Argentin qui a égalisé à deux minutes de la fin. Auparavant, Casillas s'était incliné sur un tir de Cani. Avant de réaliser une nouvelle bourde dans le temps additionnel, profitant à Capdevila. A l'image de son gardien, le Real n'y est plus du tout en cette fin de saison.
Derrière Barcelone et le Real, cela ralentit considérablement. Séville (3e) a eu beaucoup de mal à Osasuna (0-0) et aurait mérité de perdre. Le podium des Andalous pourrait être remis en cause par Valence, Villarreal ou l'Atletico. Le Deportivo (7e), lui, a laissé passer sa chance en concédant le nul à domicile contre Getafe (1-1). - Cyril OLIVES
ATHLETIC BILBAO-BARCELLONA 1-4 — Il sogno dell'Athletic di portare a casa la Coppa del Re dura mezz'ora, poi si scatena la valanga blaugrana e per i baschi è notte fonda. Al Mestalla di Valencia nella finale di Coppa di Spagna il Barcellona torna quello dei tempi belli, una macchina da gol (quattro, contro uno dell'Athletic) guidata da un Messi in formato Pallone D'Oro. Ora l'appuntamento per gli uomini di Guardiola è con la conquista della Liga, domenica, e la finale di Champions. Contro il Bilbao, comunque, l'ingranaggio è andato a posto solo dopo mezz'ora. Fino al gol del pareggio di Yaya Touré. In precedenza, grande avvio dei baschi, che si portano avanti al 9' con Toquero, abile a svettare sopra Dani Alves su azione di corner. L'1-1 dell'ivoriano con una rasoiata da fuori area risistema le cose per il Barça. Che nella ripresa dilaga. Messi, già pericoloso nel primo tempo, apre e chiude l'azione del 2-1: serve Eto'o in area, il camerunese calcia, ma il tiro è respinto dal portiere basco Iraizoz. Sulla palla vagante arriva proprio l'argentino, che scarica nella porta vuota. L'Athletic non fa in tempo a tirarsi su che deve subire il terzo gol di Bojan Krkic, il quale gioca a biliardo con il palo in contropiede e chiude il match. La sepoltura definitiva la dà Xavi con un perfetto calcio di punizione. Fine dei giochi, il finale è un lungo torello blaugrana, con miracoli assortiti di Iraizoz, nel delirio dei tifosi giunti al Mestalla. Tifosi che, per la cronaca, in compagnia dei supporter baschi, avevano fischiato l'inno nazionale suonato prima della partita. Il Barcellona torna alla vittoria nella Coppa del Re dopo ben undici anni. E per giunta dando spettacolo.
Onze ans après son dernier sacre en Coupe d'Espagne, Barcelone a encore ajouté son nom au palmarès de la Copa del Rey. Face à Bilbao (4-1), les Catalans ont pourtant été rapidement menés au score. Mais ils se sont repris, et de quelle manière ! C'est le premier pas vers un possible triplé puisqu'ils vont remporter la Liga et affronteront MU en finale de la C1 le 27 mai.
Barcelone s'est fait peur... vingt minutes. Un laps de temps durant lequel Bilbao a fait honneur à son statut de deuxième équipe la plus titrée de la compétition. Le but de la tête de Toquero (9e) a permis au peuple basque de rêver, de vibrer. Et puis le grand méchant Barcelone s'est réveillé et a pris la forme de Yaya Touré. D'abord magnifique sur son égalisation (31e), rush au milieu de terrain et frappe lointaine, l'ancien Monégasque s'est ensuite montré pathétique en allant chambrer le superbe public de l'Athletic. Ce dernier a ensuite réservé une bronca à l'un des siens qui a touché Dani Alves à la tête avec une canette. Clairement en surrégime sur le début de match, Bilbao a complètement perdu pied après la pause pour finalement s'incliner 1-4. Messi s'est créé pas moins de quatre grosses occasions en dix minutes. La dernière a été la bonne et le petit prodige argentin a donné l'avantage aux siens sur un centre-tir d'Eto'o repoussé par Iraizoz (55e). Le gardien de Bilbao a ensuite vécu un calvaire, battu par un tir enroulé du droit du jeune Bojan (58e) puis par un superbe coup-franc de Xavi (64e). L'addition aurait pu être encore plus salée, mais Barcelone s'est arrêté là. Il lui reste encore deux finales à jouer : d'abord celle de ce week-end à Majorque pour remporter la Liga, puis celle du 27 mai contre Manchester United. Le peuple catalan espère l'apothéose à Rome. - Cyril OLIVES
"Nostromo" is the story of a sailor named Nostromo, who left his own country, Italy, for a Latin American country, Costaguan by name, where he becomes respected by people there. From start to finish, Nostromo is so much concerned about his own reputation. All that he cares for is what other people say about him. He feels happy when people call him "man of the people." Once, Nostromo is asked by Mr. Charles Gould, the richest businessman and the owner of the San Tome Silver Mine in Costaguana, to tuck the silver ingots of the San Tome Silver Mine owned by the Goulds away in a safe place away from the grips of the Monterists, the anarchists who try to rob it. Nostromo agrees, wishing that this mission will add so much to his reputation. In time, Nostromo keeps the treasure for himself, telling the Costaguaneroes that it has sunk in the sea. In so doing, he commits several acts sof betrayal: - he betrays the Goulds who entrusted him with their treasure; - he betrays the Costaguaneroes who have put their trust in him; - and he betrays himself and his own ideals of becoming a hero helping those needing his help. Eventually, Nostromo is shot dead by someone named Old Viola.
Capitalism as it corrupts the volatile republics of South America, which were established with the demise of the Spanish Empire, forms the basis of a social criticism in Nostromo that encompasses a host of social concerns. Conrad's first extended venture into the political world, "Nostromo" captures a spirit of political upheaval and revolution. Conrad explores: - the effects of counterrevolution, national policy, political corruption, and armed insurgency on the lives of: · the wealthy hidalgos, the new economic imperialists, · the workers and the poor, · and the assorted Europeans caught up in the coastal town of Sulaco, famed for its San Tome silver mine in the Republic of Costaguana. - The effects of progress in the shape of the Oceanic Steam Navigation Company, the reopening of the silver mine by Charles Gould against his late father's wishes.
"Nostromo" is Conrad's ultimately impressionistic novel, modelled upon his earlier experiment with form in "Lord Jim" (1900). Here the chronology is jumbled as he introduces characters whose roles in the events of Sulaco's stormy history during revolution are gradually revealed, : - sometimes through the actions and speech of others, - sometimes in recollections after the fact, - once in a letter, - but principally by an anonymous narrator whose point of view moves between: · a third person who could plausibly reconstruct events · and an omniscient narrator who reveals the emotions and unspoken thoughts of the characters. This gathering of impressions — providing knowledge of outcomes before events are described, distorting the reader's sense of time and place — reflects the act of the mind remembering events,: - moving from incident to incident, piecing together meaning as the memory does, not chronologically.
Point of View Nostromo is told as a third person omniscient narrative. Scenes are crafted through the perspectives of various characters, and often the same scene is replayed through the different points of view: - This allows the reader to get multiple perspectives on an event. - Seeing the same event from different class perspectives reinforces the thematic message of the novel: · The working class perspective of Giorgio contrasts with the perspective of the town leader, Charles Gould. - By giving the reader both sides, the narrator allows the reader to develop a personal interpretation of how the characters relate to each other. - No character or class perspective dominates the narrative, giving the reader a complete picture that reflects the interlocking class structure of the characters.
KIM (2) The journey The story begins when Kim teams up with a Tibetan lama who wanders into Lahore to look at the Buddhist relics in 'The Wonder House' (Lahore museum) with the 'Keeper of the images' (the curator). From then on the plot develops two strands which run in parallel, and to a large extent overlap: - One strand concerns Kim's discipleship to the lama, who is an abbot in his own country: · Kim is fascinated by the wandering stranger, and when the lama assumes that Kim has been sent to him as his 'chela' (disciple) Kim readily accepts the role and joins him on his journey, with the intention of also following his own quest, to find the meaning of a prophecy that was made by his father. This prophecy eventually gives rise to the second strand of the plot - Kim's recruitment as a spy in the British Secret Service. · The friendship between this unlikely pair is one of the main attractions of Kim, which is a novel about male friendships. · One of the bonds uniting Kim and the lama on their respective quests is that both reject relationships with women since they both see women as dangerous distractions from their higher goal. · Kim and the lama have in common that: 1. neither has any real family ties or sense of belonging, 2. and their quests have in common that both are esoteric, beyond the reach of ordinary people, and both require the renunciation of normal life. · But the two companions are in many ways very different: 1. Kim is young, the lama is old. 2. Kim is knowledgeable and streetwise, the lama is naive and inexperienced. 3. The adolescent Kim is mature beyond his years, while the aged lama is childlike. 4. And in some ways the tactics they employ to achieve their aims are opposite too. a) The lama adopts an attitude of honesty and openness, b) while Kim adopts an attitude of deception, manipulation, and lies. - And yet the two become interdependent, : · Kim's association with the lama providing him with an excuse to travel around India, and an ideal cover for his true role as a spy, · while the lama often relies on Kim to do their begging and find them shelter, often physically leaning on Kim's shoulder as they travel. · They sustain each other, the lama providing Kim with emotional and spiritual support, while sustaining himself by drawing on Kim's youthful energy. Conclusion In the final chapter, Kim comes as close as he ever does to feeling he has discovered his identity. There is no definitive statement, but at the end he seems to have arrived at a sense of self towards which he has been struggling, and which he has been defining cumulatively through his experiences. He seems to have found an adult role in which he can be true to himself as he really is,: - a 'mixture o' things', neither wholly Indian nor wholly British, - and in which he can maintain the detachment from everyday life and commitments which united him to the lama. - As a secret agent his being a mixture of Indian and British will be an advantage, and he can devote his life to helping to preserve the stability of the British-Indian world he grew up in, which nurtured him like parents. - He has found an adult role in which he is special, above the rest, and in which he can work on his own initiative, just as he did as a child on secret missions across the rooftops of Lahore.
Kim embodies attitudes towards British rule in India which these days are wholly unacceptable and unpalatable. Kipling makes countless, rash and biased generalisations about India and its people which come from the adult narrator, and not from Kim himself. (for more examples see Said: - Said is best known for describing and critiquing "Orientalism", which he perceived as a constellation of false assumptions underlying Western attitudes toward the East. - In Orientalism, Said claimed a "subtle and persistent Eurocentric prejudice against Arabo-Islamic peoples and their culture. - He argued that a long tradition of false and romanticized images of Asia and the Middele East in Western culture had served as an implicit justification for Europe and the US' colonial and imperial ambitions. - Said argued that the West had dominated the East for more than 2,000 years, Europe had dominated Asia politically so completely for so long that even the most outwardly objective Western texts on the East were permeated with a bias that even most Western scholars could not recognize. - His contention was: · that the West has conquered the East politically · also that Western scholars have appropriated the exploration and interpretation of the Orient’s languages, history and culture for themselves. They have written Asia’s past and constructed its modern identities from a perspective that takes Europe as the norm, from which the "exotic", "inscrutable" Orient deviates. - Said concludes that Western writings about the Orient depict it as an irrational, weak, feminised "Other", contrasted with the rational, strong, masculine West, a contrast he suggests derives from the need to create "difference" between West and East that can be attributed to immutable "essences" in the Oriental make-up.) We cannot excuse or defend Kipling's attitudes, but we can acknowledge the historical fact that they were no different to those of many of his Victorian contemporaries, and be glad that the fact is a historical one. In spite of this, the novel does not deserve to be forgotten, because: - it does have fine literary qualities, - and it and deserves its unique place in the history of English Literature. The novel is not overt propaganda: - and on the surface what comes across above all else is: · Kipling's tremendous insider's knowledge of India as it was in Victorian times, · and his love and admiration for the country and its people. - The novel embodies a panoramic celebration of India, presenting as it does, a magnificent picture of its landscapes, both urban and rural, and a fascinating array of native characters who, for the most part, are warm, generous and tolerant. - Beyond that,: · Kim is an adventure story of the Empire, giving it something in common with the novels of Joseph Conrad, such as Heart of Darkness. The readership would have been British, and they would probably have been impressed and fascinated by Kim as a mysterious and exotic tale of adventure overseas. · We should approach it as an adventure story probably aimed primarily at adolescent boys, in which Kim is seeking to find his place in the country in which he was born, while at the same time struggling to find, or create, an identity for himself. 'Who is Kim?' 'What is Kim?' Kim asks himself at several points in the novel, and although the plot has a loose picaresque structure, being held together by a journey, making it a kind of 'road novel', the theme of Kim's need to find himself seems to be the backbone of the story. · By birth Kim is a white, Irish boy, Kimball O'Hara, whose father was a soldier in an Irish regiment. But, as we see in Chapter 1, he has grown up as an orphan on the streets of Lahore. With his skin 'burned black as any native' he looks and lives like a low-caste Hindu street-urchin, unable to read or write, or speak English very well. So right from the start he is neither wholly British nor wholly Indian, and his being neither wholly one nor the other, but a unique 'mixture o' things' remains a constant in his quest for his identity.
Barcelona have now scored 100 goals in the league this season and stand on the verge of their first La Liga title since 2006
By David Ornstein
Barcelona romped to a 6-2 victory at fierce rivals Real Madrid to move seven points clear at the top of La Liga.
Gonzalo Higuain headed Real ahead but Thierry Henry curled an equaliser and Carles Puyol nodded Barca in front.
Lionel Messi slotted past Iker Casillas and, after Sergio Ramos replied with a glancing header, Henry clipped into an empty net and Messi rolled in another.
Gerard Pique tapped in the sixth as Barca warmed up for their Champions League meeting with Chelsea in style.
The Catalan giants travel to London for their semi-final second leg on Wednesday with the tie evenly-poised at 0-0.
And, on this evidence, Chelsea will need to produce another sterling defensive effort to prevent Barca from reaching a second final in four years.
Pep Guardiola's men, who are set to win La Liga for the first time since 2006, have now scored 100 league goals in 34 matches this season and, remarkably, against Real they could easily have had more. Rarely had Spain's two biggest clubs met with so much at stake and the atmosphere inside the Bernabeu before kick-off was fitting of one of the most eagerly-anticipated encounters in El Clasico history.
When the sides played at the Camp Nou in December, Barca ran out 2-0 winners and extended their lead over Real to 12 points.
Between then and Saturday's encounter Real had picked up 52 points from a possible 54 and closed the gap to four points with five games remaining.
The reigning champions knew only a victory would realistically keep them in contention for a third straight title and they got off to the perfect start.
Sergio Ramos ghosted past Eric Abidal on the right and crossed for an unmarked Higuain to head powerfully beyond Victor Valdes.
Barca probed for an immediate response and it came as no surprise when Henry latched on to Messi's through ball, opened his body and caressed the ball past Casillas.
Real saw their title dreams disappear in emphatic fashion
A pulsating, end-to-end spectacle was unfolding and Real, inspired by the fit-again Arjen Robben, nearly hit back as Higuain zipped the ball across the face of goal and Daniel Alves almost diverted it into his own net.
But the rest of first half belonged to Barca as - with help from Real's porous defence - they produced an attacking masterclass.
After Henry was fouled by Fabio Cannavaro on the left, Xavi's free-kick picked out Puyol to score his first league goal this season with a bullet header.
Xavi, Andres Iniesta and the imperious Messi were running Real ragged and Casillas was called into action twice in quick succession to deny the 21-year-old Argentine.
The hosts' luck would soon run out, however, and when Xavi robbed Lassana Diarra of possession and sent Messi haring through on goal, there was only ever going to be one winner as he tucked smartly past Casillas.
Barca created countless chances before the break but it was Real who started brightest after half-time, and Ramos kept their hopes alive with a neat header from Robben's teasing free-kick.
But that was the beginning and end of their comeback.
Two minutes later, Xavi picked out Henry with a delicious whipped pass and the former Arsenal striker easily beat Casillas, who had made a poor decision to come rushing out of his box.
Although a temporary lull ensued, Barca seemed capable of bursting into life at any moment and so it proved as Messi collected yet another fine pass by Xavi, dummied Casillas and finished with aplomb.
There was still time for Pique to grab his first league goal for Barca, shooting home at the second attempt after a right-wing cross by Eto'o.
It was the first time in the history of this fixture that the away team had scored six goals, a feat that as good as secured Barca's 19th Spanish title.
Real Madrid coach Juande Ramos: "We have lost a lot of the hope we had about winning the league. "We still have to put all our effort into the competition. Of course it's difficult and much more difficult than before."
Barcelona coach Pep Guardiola: "It is not easy to win at the Bernabeu and this is one of the happiest days of my footballing life, as we have made a lot of people happy." "We have taken a very big step towards winning the title. We wanted to kill it, to kill the league here. It's a very sweet night winning at this stadium and in front of these fans. "It is not going to hurt ahead of the Chelsea game, either. It's going to put us in very good shape. We are going there to seal our place in the Champions League final."
Nella partitissima della 34ª giornata della Liga, i blaugrana passano 6-2 al Bernabeu con gol di Henry (2), Messi (2), Puyol e Piqué. Per i blancos segnano Higuain e Ramos. Con questo risultato, la squadra di Guardiola mette le mani sul campionato: è a +7 a 4 turni dalla fine
Puyol e i giocatori blaugrana fanno festa al Bernabeu: il Real va k.o.. Ap
MADRID, 2 maggio 2009 - Lezione di calcio, dimostrazione di schiacciante superiorità, umiliazione sportiva. Definitelo come volete, questo 6-2 del Barcellona sul Real Madrid al Bernabeu. Vale 3 punti, dunque porta i catalani a +7 sui rivali dopo 34 giornate di Liga. Ma vale molto di più. Perché dà una mazzata definitiva al morale dei madridisti, che pure venivano da 17 vittorie e un pareggio dopo la sconfitta maturata al Camp Nou nel girone d'andata. E stabilisce una volte per tutte le gerarchie in Spagna, dando lo slancio alla corazzata di Guardiola verso un finale di stagione da vivere alla grande.
CHE REAZIONE - Il momento più difficile dell'annata blaugrana arriva al 14' del Clasico: Sergio Ramos va via ad Abidal e mette sulla testa di Higuain il pallone che "el Pipita" converte nell'1-0, 19° centro personale in questa Liga. E' in quell'attimo che la paura della "remontada blanca" potrebbe travolgere il Barça, che a quel punto ha una sola lunghezza di vantaggio sui rivali madridisti. E potrebbe pregiudicare anche i prossimi obiettivi dei catalani, ovvero il tentativo di impresa a Stamford Bridge in Champions e la finale di Copa del Rey. E' proprio dopo la rete di Higuain, invece, che il Barcellona dimostra a tutti di essere il padrone assoluto del calcio spagnolo. Perché, da quell'istante in poi, la reazione della capolista produce qualcosa di clamoroso, destinato a restare nella storia del Bernabeu e nella memoria di chi ama il calcio.
SUPER HENRY - Comincia subito Henry e impiega appena qualche minuto a raddrizzare la situazione: allo scoccare del 18', Messi gli serve un pallone morbido e il francese fulmina Casillas in diagonale. Ancora un paio di giri di lancette ed ecco il sorpasso: Cannavaro stende Henry e concede una punizione al Barça, che Xavi spedisce sulla testa riccioluta di Puyol. Il capitano, dimenticato in mezzo all'area, fa il 2-1 e bacia la sua fascia. Tutto ciò che il Real Madrid riesce a fare prima dell'intervallo è uno spunto di Higuain, il resto è una marea blaugrana. Elencare tutte le occasioni che Messi, Eto'o, Henry e Iniesta costruiscono porterebbe via troppo tempo, perché sono una decina... Basti dire che Casillas deve superarsi più volte, fino a quando capitola al 35': Lassana Diarra si fa soffiare il pallone da Xavi, che innesca la corsa e l'esterno rasoterra vincente della Pulce. E' il 3-1 e non diventa 4-1 solo perché Casillas poi disinnesca una punizione terribile di Alves.
CENTO GOL - Tramortito, il Real esce dagli spogliatoi ancora in balia del Barça, che spreca il match-point con Messi. E così, all'11', i blancos tornano in corsa per un minuto, con Ramos che devia di testa la punizione di Robben e fa 2-3. Un minuto, non più di un minuto. Perché poi è già tempo, per Henry, di segnare il 4-2 del Barça e portare a 19 il suo bottino di reti nel torneo: il lancio è del solito, magistrale Xavi, con Casillas che sbaglia l'uscita e i difensori in maglia bianca che non fanno scattare il fuorigioco. E' la mazzata definitiva, i madridisti non reagiscono più. Così il Barça dilaga e Xavi può servire il miliardesimo assist di una stagione fantastica: lo controlla Messi, che fa doppietta e mette in cassaforte il 23° centro in campionato. Finita? No, perché anche gli attori non protagonisti, come uno splendido Piqué, vogliono partecipare alla goleada: sullo spunto di Eto'o, il difensore centrale segna il 6-2, che è poi il 100° gol del Barcellona in questo campionato. Avete letto bene: 100, di cui 69 segnati dal trio Messi-Eto'o-Henry. E se estendiamo il discorso all'intera stagione, siamo a 146 in 55 partite. Numeri da fantacalcio, numeri che raccontano di una squadra che sta entrando nella leggenda, giorno dopo giorno.
Cinq minutes. Le rêve du Real Madrid aura duré cinq minutes. Revenu à quatre points du FC Barcelone le week-end dernier, les Merengue, étrillés à Bernabeu par un leader désormais sur la voie royale (2-6), ont briévement entretenu l'espoir de tout relancer dans la course au titre. Bien entrés dans ce Clasico décisif, les Madrilènes n'étaient plus virtuellement qu'à une longueur de leur adversaire lorsque Gonzalo Hinguain a ouvert la marque d'un coup de tête du point de penalty à la réception d'un centre de Sergio Ramos (13e). Mais la réaction catalane a très vite étouffé les velléités du club de la capitale de renverser le cours de la Liga. Cinq minutes après le but madrilène, Thierry Henry, auteur d'un doublé samedi soir, a ramené les deux équipes à égalité en profitant d'une ouverture millimétrée de Lionel Messi, double buteur lui aussi (18e). Le début de la fin pour le Real.
Comme un symbole, le capitaine catalan Carles Puyol a donné l'avantage aux Blaugrana en reprenant victorieusement de la tête un coup franc de Xavi, le premier but de la saison du défenseur central qui a fêté l'événement devant le peuple de Castille en embrassant goulument son brassard aux couleurs de la Catalogne, encore un symbole (20e). En atteignant la pause avec deux buts d'avance après un extérieur du gauche victorieux de Messi sur une perte de balle de Lassana Diarra (35e), le FC Barcelone avait déjà assomé son rival historique. Il n'avait pourtant gagné qu'un seul des six derniers chocs (au match aller, 2-0) et se présentait dans l'antre de son meilleur ennemi après deux nuls en Liga (2-2 à Valence) et en C1 (0-0 face à Chelsea). La deuxième période, copier/coller de la première -premier but madrilène puis avalanche barcelonaise- a donné au Clasico des allures de leçon. On avait hâte pour le Real que l'arbitre arrête les frais...
Une tête de près de Sergio Ramos a redonné quelques couleurs aux Merengue en ramenant le score à 3-2 (56e) puis la meilleure attaque d'Europe s'est remise à l'ouvrage. Comme au début du match, c'est Thierry Henry qui a très vite donné la réplique en expédiant une ouverture de Xavi dans le but vide d'Iker Casillas sorti à sa rencontre (58e). Messi a ensuite surpris le dernier rempart madrilène d'une frappe au premier poteau (75e) et Piqué a conclu la marque dans un angle fermé, isncrivant au passage le... 100e but du Barça cette saison (83e). Autre record : la triplette Eto'o - Messi - Henry a désormais dépassé la "Sainte Trinité" du Real de la saison 1960-61 en inscrivant d'ores et déjà trois buts de plus qu'elle (69 contre 66). Bien sûr, ce Barça exceptionnel n'est pas encore certain de gagner son premier titre depuis 2006. Mais avec sept longueurs de retard et une différence de buts astronomique, on n'ose imaginer que le Real puisse recoller lors des quatre dernières rencontres. Pour le dauphin, c'étaient "les cinq dernières minutes". -J.LB.
Article publicat a L'equippe, el prestigiós diari francès
Hammett was born on a farm in southern Maryland. His parents were an old Maryland family. He grew up in Philadelphia and Baltimore. Sam left school when he was 13 years old and held several jobs.[
Hammett turned to drinking, advertising, and eventually, writing. His work at the detective agency provided him the inspiration for his writings.
Appearing primarily in the magazine Black Mask, Hammett's work soon became a favourite with readers. Bringing his real-life detective experience to his writing, he is today regarded as a founding father of the genre, as well as elevating detective fiction to the level of literature.
Many of his stories featured a pudgy, middle-aged operative of the Continental Detective Agency, known only as The Continental Op.
His best-known creation was Sam Spade, the tough, shifty detective of The Maltese Falcon. Spade was based in San Francisco.
Hammett's writing career was short. He produced four novels and almost all of his short stories between 1922 and 1931. A fifth novel (The Thin Man) followed in 1934. Then, nothing, because, ironically, Hammett had come to loathe the hard-boiled genre that he had pioneered.
He aspired to write mainstream novels that would rival those of Hemingway and Fitzgerald. During the 1950s, Hammett's support of leftist causes brought the attention of the House Un-American Activities Committee, and he was called upon to testify. Hammett's refusal to name names resulted:
- in five months behind bars.
- in him to be blacklisted;
- in his books were removed from libraries, and his radio shows cancelled.
He died near-penniless in 1961.
1) RED HARVEST
Red Harvest first appeared in the magazine Black Mask, serialized over four issues.
The main character, Continental Op, is also the narrator: first person narration. There has never been a movie version of Red Harvest, although several movies have used its plot (without giving credit).
It is a clear sample of the hard-boiled tradition, due to:
- the recreation of the war against the lack of morality
- totalitarian ideas of some powerful men.
The responsible ones for the huge number of dead citizens are:
- the corrupted high class
- the police.
There is a strong feeling that a strong ethic code is necessary to face social corruption.
2) THE MALTESE FALCON
It is a 1930 detective novel, originally serialized in the magazine Black Mask. The story has been adapted several times for the cinema.
It is a cult to individual defence against social norms and law since it representsa search for objective narrative.
- appears only in this novel and in three lesser known short stories, yet is widely cited as the crystallizing figure in the development of the hard boiledprivate detective genre – Raymond Chandler's character Philip Marlowe, for instance, was strongly influenced by Hammett's Spade.
- Spade was a departure from Hammett's nameless and less than glamorous detective, The Continental Op.
- Sam Spade combined several features of previous detectives, most notably:
- his cold detachment,
- keen eye for detail,
- and unflinching determination to achieve his own justice. He is the man who has seen the wretched, the corrupt, the tawdry side of life but still retains his "tarnished idealism".
In this novel, Hammett redefines many of the conventions of the "hard boiled" detective genre:
-Spade is a bitter, sardonic character who lets the police and the criminals think he is in with the criminals while he works singlemindedly to catch the crooks.
-Brigid O'Shaughnessy is the classic femme fatale.
-The other crooks are manipulative and self-centered (or merely self-centered) with no concern for anyone's well-being except their own.
However, unlike some other hard-boiled detectives who have a strong sense of idealism underneath the cynical shell, Hammett never provides a clear statement of Spade's notion of morality:
- Although he expresses a strong professional ethic ("When a man's partner is killed he's supposed to do something about it. It doesn't make any difference what you thought of him. He was your partner and you're supposed to do something about it") it also has an element of self-interest about it ("[W]hen one of your organization gets killed it's bad business to let the killer get away with it. It's bad all around - bad for that one organization, bad for every detective everywhere").
- It is left unclear whether Spade might have chosen not to turn Brigid in if there was a bigger monetary gain for him ("...a lot more money would have been one more item on your side"), but certain that his emotional attachment to her (however strong that is) is not sufficient to overcome the risks involved with letting her go.
- Spade's blatant calculus of risk, reward and duty with which Hammett ends the novel contains remarkably little trace of morality.
Keats composed this while staying at a friend's house, north of London. Every evening a nightingale would sing outside his window, and the bird's singing caused Keats to reflect on sad memories.
With "Ode to a Nightingale" Keats's speaker begins his fullest and deepest exploration of the themes of creative expression and the mortality of human life. In this ode, the transience of life and the tragedy of old age ("where palsy shakes a few, sad, last gray hairs, / Where youth grows pale, and spectre-thin, and dies") is set against the eternal renewal of the nightingale's fluid music ("Thou wast not born for death, immortal bird!"). The speaker reprises the "drowsy numbness" he experienced in "Ode on Indolence" , but where in "Indolence" that numbness was a sign of disconnection from experience, in "Nightingale" it is a sign of too full a connection: "being too happy in thine happiness," as the speaker tells the nightingale. Hearing the song of the nightingale, the speaker longs to flee the human world and join the bird. His first thought is to reach the bird's state through alcohol--in the second stanza, he longs for a "draught of vintage" to transport him out of himself. But after his meditation in the third stanza on the transience of life, he rejects the idea of being "charioted by Bacchus and his pards" (Bacchus was the Roman god of wine and was supposed to have been carried by a chariot pulled by leopards) and chooses instead to embrace, for the first time since he refused to follow the figures in "Indolence," "the viewless wings of Poesy." The rapture of poetic inspiration matches the endless creative rapture of the nightingale's music and lets the speaker, in stanzas five through seven, imagine himself with the bird in the darkened forest. The ecstatic music even encourages the speaker to embrace the idea of dying, of painlessly succumbing to death while enraptured by the nightingale's music and never experiencing any further pain or disappointment. But when his meditation causes him to utter the word "forlorn," he comes back to himself, recognizing his fancy for what it is--an imagined escape from the inescapable ("Adieu! the fancy cannot cheat so well / As she is fam'd to do, deceiving elf"). As the nightingale flies away, the intensity of the speaker's experience has left him shaken, unable to remember whether he is awake or asleep.
In "Indolence," the speaker rejected all artistic effort. In "Psyche" he was willing to embrace the creative imagination, but only for its own internal pleasures. But in the nightingale's song, he finds a form of outward expression that translates the work of the imagination into the outside world, and this is the discovery that compels him to embrace Poesy's "viewless wings" at last. The "art" of the nightingale is endlessly changeable and renewable; it is music without record, existing only in a perpetual present. As befits his celebration of music, the speaker's language, sensually rich though it is, serves to suppress the sense of sight in favor of the other senses. He can imagine the light of the moon, "But here there is no light"; he knows he is surrounded by flowers, but he "cannot see what flowers" are at his feet. This suppression will find its match in "Ode on a Grecian Urn" , which is in many ways a companion poem to "Ode to a Nightingale" . In the later poem, the speaker will finally confront a created art-object not subject to any of the limitations of time; in "Nightingale," he has achieved creative expression and has placed his faith in it, but that expression--the nightingale's song--is spontaneous and without physical manifestation.
We celebrated St George's Day, watching power points about English stories with Emigdi Subirats.
The older pupils in the school watched "Ali Baba" and " The Emperor's New Clothes" created by Emigdi Subirats and the little ones watched the stories of ''The little Red Riding Hood'' and ''The three Billy Goats'' with Tere.
Emigdi explained the stories to us. They were very interesting . We enjoyed them a lot .
Thank you Emigdi for these fascinating stories and the good time that we had with you.
The poem begins with the question, "Little Lamb, who made thee?" The speaker, a child, asks the lamb about its origins: how it came into being, how it acquired its particular manner of feeding, its "clothing" of wool, its "tender voice." In the next stanza, the speaker attempts a riddling answer to his own question: the lamb was made by one who "calls himself a Lamb," one who resembles in his gentleness both the child and the lamb. The poem ends with the child bestowing a blessing on the lamb.
"The Lamb" has two stanzas, each containing five rhymed couplets. Repetition in the first and last couplet of each stanza makes these lines into a refrain, and helps to give the poem its song-like quality. The flowing l's and soft vowel sounds contribute to this effect, and also suggest the bleating of a lamb or the lisping character of a child's chant.
The poem is a child's song, in the form of a question and answer. The first stanza is rural and descriptive, while the second focuses on abstract spiritual matters and contains explanation and analogy. The child's question is both naive and profound. The question ("who made thee?") is a simple one, and yet the child is also tapping into the deep and timeless questions that all human beings have, about their own origins and the nature of creation. The poem's apostrophic form contributes to the effect of naiveté, since the situation of a child talking to an animal is a believable one, and not simply a literary contrivance. Yet by answering his own question, the child converts it into a rhetorical one, thus counteracting the initial spontaneous sense of the poem. The answer is presented as a puzzle or riddle, and even though it is an easy one--child's play--this also contributes to an underlying sense of ironic knowingness or artifice in the poem. The child's answer, however, reveals his confidence in his simple Christian faith and his innocent acceptance of its teachings.
The lamb of course symbolizes Jesus. The traditional image of Jesus as a lamb underscores the Christian values of gentleness, meekness, and peace. The image of the child is also associated with Jesus: in the Gospel, Jesus displays a special solicitude for children, and the Bible's depiction of Jesus in his childhood shows him as guileless and vulnerable. These are also the characteristics from which the child-speaker approaches the ideas of nature and of God. This poem, like many of the "Songs of Innocence", accepts what Blake saw as the more positive aspects of conventional Christian belief. But it does not provide a completely adequate doctrine, because it fails to account for the presence of suffering and evil in the world. The pendant (or companion) poem to this one, found in the "Songs of Experience", is "The Tyger"; taken together, the two poems give a perspective on religion that includes the good and clear as well as the terrible and inscrutable. These poems complement each other to produce a fuller account than either offers independently. They offer a good instance of how Blake himself stands somewhere outside the perspectives of innocence and experience he projects.
The Draft Constitution of the Catalan Republic of 1928, commonly known as the Constitution of Havana (the place where it was written), was born as one of several attempts to raise Catalonia to the status of an independent state.In the period between the First World War and 1931, a number of factors contributed to the rise of nationalist activity in Catalonia: the birth of the Irish state, the creation of several European countries from the disintegration of the European Empires, the admission of the right of self-determination by both the Americans and the Soviets and the decline of the Spanish Empire (which lost its colonies of Cuba and The Philippines, against the backdrop of the growth of the Catalan economy.This resulted in the creation of the separatist Constituent Assembly of Catalonia in Havana, Cuba, chaired by Francesc Macià. This assembly approved the Constitution of Havana on September 30 and October 1st and 2nd of 1928, as their project of giving a Provisional Constitution for a Catalan Republic.The Draft Constitution was written by Josep Conangla i Fontanilles (Montblanc 1875 – Havana 1965), a Catalan essayist and poet living in Havana, and the leading Catalan separatist in the Americas during the 20th Century. In 1931 the Second Spanish Republic was proclaimed, but the lack of a strong leader and mature separatist party extinguished the aspirations to independence embodied in this text. Therefore, the constitution never came into effect, and instead the Catalan authorities presented the Draft Statute of Catalonia of 1932 to the Spanish government. This statute (regional constitution), however, was also rejected, and finally the governments of Spain and Catalonia approved theStatute of Catalonia of 1932. In spite of never having entered into force, the Draft Constitution is a very important text in regards to the political ideas and ideals of the Catalan separatist movement before Franco's dictatorship.
Der FC Bayern muss seine Hoffnungen auf das Halbfinale in der Champions League so gut wie begraben. Im Viertelfinal-Hinspiel unterlag der deutsche Rekordmeister am Mittwochabend einem in allen Belangen überlegenen FC Barcelona mit 0:4 (0:4) und benötigt für das Rückspiel am kommenden Dienstag in München schon ein Fußball-Wunder, um doch noch in die Vorschlussrunde einzuziehen.
Vor 96.000 Zuschauern im ausverkauften Camp Nou sorgten Lionel Messi (9. Minute/38.), Samuel Eto’o (12.) und Thierry Henry (43.) bereits in der ersten Halbzeit für klare Verhältnisse. Nach dem Seitenwechsel brachte der Titelgewinner von 2006 den Vorsprung ohne Mühe über die Zeit und bescherte den Münchnern damit die erste Niederlage in der laufenden Champions-League-Saison.
Vier Umstellungen
Nach dem 1:5 in Wolfsburg am vergangenen Samstag änderte Klinsmann seine Anfangsformation gleich auf vier Positionen. Für den verletzten Lucio rückte Martin Demichelis an die Seite von Breno in der Innenverteidigung. Philipp Lahm musste wegen einer Wadenverhärtung kurzfristig passen. Christian Lell ersetzte ihn als linker Verteidiger, auf rechts kam Massimo Oddo zum Einsatz. Anstelle von Lukas Podolski rutschte der wieder genesene Hamit Altintop in die Startelf und verstärkte das Mittelfeld. Die größte Überraschung aber war die Nominierung von Jörg Butt im Tor anstelle von Michael Rensing.
Die Highlights des Spiels
Die Gastgeber, die im Vergleich zum FCB in Bestbesetzung antreten konnten, benötigten ein paar Minuten, um sich bei Dauerregen und seifig-rutschigem Untergrund zurechtzufinden. Doch dann demonstrierte Barca auf eindrucksvolle Art und Weise, warum das Team derzeit als das beste in Europa gilt. Mit schnellen, direkten Passkombinationen gewannen die Katalanen die Oberhand im Mittelfeld und setzten die Gäste mächtig unter Druck.
Durch die Nahtstellen
Die erste Chance ließ Henry (6.) nach einem Zuspiel von Xavi durch die Nahtstelle der Viererkette noch ungenutzt, doch nur drei Minuten später nutzte Messi eine nahezu identische Situation - diesmal kam die Vorlage von Eto’o - zum 1:0. Barca hatte das Mittel gefunden, um die Hintermannschaft der Bayern zu knacken und legte in der 12. Minute nach. Messi bediente Eto’o, der aus abseitsverdächtiger Position zum 2:0 einschob. Kurz darauf hatte der FCB Glück, dass der Schiedsrichter nach einem Foul von Lell an Messi im Strafraum nicht auf Elfmeter entschied (17.).
Bilder zum Spiel
Die Barca-Spieler waren zu diesem Zeitpunkt stets einen Schritt schneller als ihre Gegenspieler aus München, die nach dem Doppelschlag sichtlich geschockt waren. Vor allem für Butt war es bis dahin ein bitterer Abend. Drei Mal war der Schlussmann bis dato am Ball gewesen, davon musste er das Leder zwei Mal aus dem Tor holen. Aber es kam noch schlimmer: In der 22. Minute prallte er bei einer Rettungstat gegen Henry mit dem Franzosen zusammen und zog sich dabei eine Risswunde am Kopf zu. Der Routinier wurde mehrere Minuten behandelt, konnte dann aber weiterspielen.
FCB-Offensive überschaubar
Mit dem Zwei-Tore-Vorsprung im Rücken schaltete Barca einen Gang zurück, die Bayern fanden aber auch dann kein Mittel, um die gut organisierte Deckung der Spanier in Gefahr zu bringen. Im Gegenteil: Barca kontrollierte das Geschehen, variierte nach Belieben das Tempo und kam so zu weiteren Chancen. Zunächst wurde ein Schuss von Eto’o (37.) noch abgeblockt, doch eine Minute später erhöhte Messi auf 3:0. Henry hatte sich im Laufduell gegen Oddo durchgesetzt und der Argentinier war beim Torabschluss einen Schritt schneller als Lell.
Doch damit nicht genug. In der 43. Minute setzte Henry noch einen drauf, als er nach einem unwiderstehlichen Sololauf von Messi an den Ball kam und diesen aus 14 Metern flach ins Tor schob. Die Offensivaktionen des FC Bayern waren bis dahin sehr überschaubar. Es dauerte bis zur 39. Minute, ehe Schweinsteiger den ersten Torschuss auf das Gehäuse der Katalanen abgab, kurz darauf versuchte sich auch Ribéry (43.) erfolglos. Auf der Gegenseite ließ Iniesta (45.+2) die große Chance zum 5:0 ungenutzt.
Ottl ersetzt Altintop
Mit Andreas Ottl für Altintop nahm der FCB die zweite Halbzeit auf. Schweinsteiger rückte nun auf die rechte Seite, Zé Roberto nach links und Franck Ribéry gab die zweite Spitze neben Toni. Das Spiel der Münchner wirkte sogleich etwas stabiler, was allerdings auch an den Gastgebern lag, die nun deutlich das Tempo rausnahmen und das Ergebnis verwalteten.
Es dauerte bis zur 59. Minute, ehe Messi von der Strafraumgrenze den nächsten Torschuss Richtung Butt abgab. Der Keeper tauchte blitzschnell ab und lenkte den Ball mit einer Hand an die Querlatte. Die Bayern hingegen blieben in der Offensive weiterhin blass. Die einzige Möglichkeit im zweiten Durchgang ließ Zé Roberto (71.) ungenutzt, als er im letzten Moment von Puyol am Torschuss gehindert wurde.
Auch in der Schlussphase tat Barca nicht mehr als nötig und brachte den klaren Sieg über die Zeit. Dabei ließen Iniesta (78./87.) und Marquez (87.) weitere aussichtsreiche Chancen für die Hausherren ungenutzt. Am Ende blieb es beim deutlichen 0:4 aus Sicht des FCB, der damit die höchste Niederlage in seiner Champions-League-Geschichte hinnehmen musste.
Today we are going to celebrate the poetic Japanese Hanami in cherry fields in Paüls. This is the translation of part of my poem "En terra roja" (In red land).
I know this corner of a melodic world buried in a dream with blue roses. What is the sound of the night? A few kites illuminating the air. A spring fragrance alerting the spirit. Some wild and elegant sounds. I remember a time in a happy village when the silence jumped in happy days nights with beautiful fragance. And so in that world, the victory of the heart, the humid elegance of the evening, human life in tender days.
Mother's Day was created as a day for each family to honour its mother, celebrated on various days in many places around the world. It complements Father's Day, the celebration honoring fathers.
It is a relatively modern concept, not to be confused with the 16th century celebration of Mothering Sunday, which is also known as Mother's Day in the UK and it is a Christian festival celebrated throughout Europe.As the Roman Empire and Europe converted to Christianity, Mothering Sunday celebrations became part of the liturgical calendar as Laetare sunday, the fourth Sunday in Lent to honour the Virgin Mary and the "mother church". In later times, Mothering Sunday became a day when domestic servants were given a day off to visit their mothers and other family members.
Different countries celebrate Mother'sDay on various days of the year because the day has a number of different origins. One claim says this day emerged from a custom of mother worship in ancient Greece, which kept a festival to Cybele, a great mother of Greek gods. This festival was held in Asia Minor and eventually in Rome in March.
The ancient romans also had another holiday, Matronalia, that was dedicated to Juno, though mothers were usually given gifts on this day.
Mother's Day is celebrated on different days throughout the world. Two primary results are first the one on the fourth Sunday in Lent, from the British tradition of Mothering Sunday (it is also called ladies day and women's day), and the one on the second Sunday in May.
The extent of the celebrations varies greatly. In some countries, it is potentially offensive to one's mother not to mark Mother's Day. In others, it is a little-known festival celebrated mainly by immigrants, or covered by the media as a taste of foreign culture .
Today, Sunday the 22nd of March, the English are celebrating Mother's Day. So to all my English friends who are mothers, and because you all deserve it,
Les lyonnais ont souffert comme rarement dans une rencontre européenne. Menés 4 buts à 0 en première période les olympiens ont réduit la marque juste avant la pause et ont espéré en revenant à 4-2 mais la supériorité du Barca a été incontestable.
Pour ce match retour face au Barca, Claude Puel fait confiance à François Clerc au poste de latéral droit malgré le fait que celui-ci n'ai disputé qu'un seul match depuis sa blessure. Devant, Karim Benzema sera soutenu par Chelito Delgado.
Les deux équipes entrent sur la pelouse du mythique Nou Camp sur l'hymne du Barca. Les Catalans monopolisent le ballon mais sans s'approcher du but d'Hugo Lloris (4e). A la réception d'une longue touche, Messi tente un dribble sur Boumsong mais c'est le défenseur olymipien qui gagne son duel (8e). Cris accroche Iniesta à l'entrée de la surface et provoque un coup franc (13e). Le coup franc frappé par Xavi est détourné par Ederson et passe de peu à coté du but (14e). Mauvaise relance de Grosso dans l'axe qui a bien failli profiter à Eto'o qui tire juste à coté (15e). La pression barcelonaise est intense et sur une superbe action à une touche de balle Messi tire au-dessus (16e). Première action lyonnaise avec Benzema qui centre depuis le coté gauche pour la tentative d'Ederson qui file à coté (20e). Benzema est servi en profondeur mais à la lutte avec Marquez celui-ci ne parvient pas à cadrer (21e). Marquez intercepte un ballon et sert Thierry Henry à la limite du hors-jeu et ouvre son pied pour tromper Hugo Lloris (26e).Pourtant en position de hors-jeu, Henry est décalé sur la gauche par Xavi et glisse le ballon sous le ventre du portier lyonnais (28e). 2 buts à 0 pour les blaugranas et l'affaire se complique pour l'OL. Leo Messi file balle balle au pied et résiste à deux défenseurs lyonnais. L'Argentin s'appuie sur Eto'o avant d'ouvrir son pied gauche pour marquer (40e)...Henry donne à Eto'o dnas la surface, Cris est trop court et le Camerounais fusille Lloris (43e) !Corner de Juninho pour la tête de Makoun qui réduit le score pour l'Olympique Lyonnais (45e) ! C'est la pause et l'OL, méné 4 buts à 1, a souffert comme rarement dans cette première période.
Au retour des vestiaires, François Clerc a laissé sa place à Mathieu Bodmer. C'est Jérémy Toulalan qui passe latéral droit. Delgado débordeme sur la droite et résiste à Silvinho avant de centrer vers le point de penalty. Karim Benzema laisse intelligemment passer le ballon jusqu'à Juninho qui ajuste Valdès (48e) ! La tension est monté d'un cran sur la pelouse et les esprits s'énervent. Henry est encore une fois servi à l'extrême limite du hors-jeu et ouvre son pied mais cette fois Lloris repousse du pied (58e). Källström remplace Delgado (61e). Lyon ne parvient plus vraiment à s'approcher du but de Valdès (75e). Après une superbe action lyonnasie, Toulalan décale Benzema qui tente un tir du gauche mais le ballon s'envole (82e). Barcelone ne se contente pas de ce score et se créé une nouvelle occasion par Bojan mais Lloris repousse (90e). Alves reçoit un coup de Grosso et reste à terre. Cela ne plait pas à Juninho qui le fait savoir à l'intéréssé ainsi qu'à l'arbitre et le maestro brésilien se fait expulser (90e) !Keita hérite d'un ballon dans le dos de la défense lyonnaise et efface Lloris avant de glisser le ballon dans le but vide (95e).
L'OL quitte donc la Ligue des Champions sur cette lourde défaite sans doute face à la meilleure équipe européenne du moment.
The Draft Constitution of the Catalan Republic of 1928, commonly known as the Constitution of Havana (the place where it was written), was born as one of several attempts to raise Catalonia to the status of an independent state.In the period between the First World War and 1931, a number of factors contributed to the rise of nationalist activity in Catalonia: the birth of the Irish state, the creation of several European countries from the disintegration of the European Empires, the admission of the right of self-determination by both the Americans and the Soviets and the decline of the Spanish Empire (which lost its colonies of Cuba and The Philippines, against the backdrop of the growth of the Catalan economy.This resulted in the creation of the separatist Constituent Assembly of Catalonia in Havana, Cuba, chaired by Francesc Macià. This assembly approved the Constitution of Havana on September 30 and October 1st and 2nd of 1928, as their project of giving a Provisional Constitution for a Catalan Republic.The Draft Constitution was written by Josep Conangla i Fontanilles (Montblanc 1875 – Havana 1965), a Catalan essayist and poet living in Havana, and the leading Catalan separatist in the Americas during the 20th Century.
Der FC Bayern muss seine Hoffnungen auf das Halbfinale in der Champions League so gut wie begraben. Im Viertelfinal-Hinspiel unterlag der deutsche Rekordmeister am Mittwochabend einem in allen Belangen überlegenen FC Barcelona mit 0:4 (0:4) und benötigt für das Rückspiel am kommenden Dienstag in München schon ein Fußball-Wunder, um doch noch in die Vorschlussrunde einzuziehen.
