瓦伦西亚part2

西班牙瓦伦西亚烩饭 Paella Valenciana
一直都很喜欢西班牙烩饭。

和中国的炒饭、意大利的炖饭一样，
西班牙烩饭也有许多不同的风味和版本。

如今，大家最熟悉的当属西
班牙海鲜烩饭，是在西班牙和世界各地的西班牙餐馆里必不可少的主
打佳肴。

然而，在其诞生地，Valencia，最经典的传统西班牙烩饭里
并没有海鲜，而是用鸡肉、兔子肉或蜗牛来做的。

第一次学会做这道烩饭，就有惊艳的感觉，没想到会如此的美味，可以让我们瞬间消灭眼前的一锅饭 ^&^具体怎么做的，快看视频吧。

Youtube 频道：
用料。

足球常用英语集锦football, soccer, Association football 足球field, pitch 足球场midfied 中场kick-off circle 中圈half-way line 中线football, eleven 足球队football player 足球运动员goalkeeper, goaltender, goalie 守门员back 后卫left 左后卫right back 右后卫centre half back 中卫half back 前卫left half back 左前卫right half back 右前卫forward 前锋centre forward, centre 中锋inside left forward, inside left 左内锋inside right forward, inside right 右内锋outside left forward, outside left 左边锋outside right forward, outside right 右边锋kick-off 开球bicycle kick, overhead kick 倒钩球chest-high ball 平胸球corner ball, corner 角球goal kick 球门球ground ball, grounder 地面球hand ball 手触球header 头球penalty kick 点球spot kick 罚点球free kick 罚任意球throw-in 掷界外球ball handling 控制球block tackle 正面抢截body check 身体阻挡bullt 球门前混战fair charge 合理冲撞chesting 胸部挡球close-marking defence 钉人防守close pass, short pass 短传consecutive passes 连续传球欧洲五大联赛队名中英文对照意大利足球甲级联赛Italy Seria A亚特兰大Atalanta博洛尼亚Bolonga佛罗伦萨Firoloutina国际米兰Intermilan尤文图斯Juventus莱切LecceAC米兰an佩鲁贾Perugia罗马Roma维罗纳Verona切维沃Chievo威尼斯Venice都灵Turin皮亚琴察Piacenzaca英格兰超级联赛England Premiership阿森纳Arsenal阿斯顿维拉Aston Villa查尔顿Charlton切尔西Chelsea德比郡Derby埃弗顿Everton伊普斯维奇Ipswich利兹联Leeds United莱切斯特Leicester利物浦Liverpool曼联Man Utd米德尔斯堡Middlesbrough纽卡斯尔Newcastle桑德兰Sunderland南安普顿Southampton托特纳姆Tottenham西汉姆West Ham富尔汉姆Fulham布莱克本Blackburn R.博尔顿Bolton W.德国足球甲级联赛Germany Bundesliga慕尼黑1860 Munich 1860拜仁慕尼黑Bayern Munich云达不莱梅Werder Bremen科特布斯Energie Cottbus多特蒙德Borussia Dortmunddeceptive movement 假动作diving header 鱼跃顶球flying headar 跳起顶球dribbling 盘球finger-tip save （守门员）托救球clean catching （守门员）跳球抓好flank pass 边线传球high lobbing pass 高吊传球scissor pass 交叉传球volley pass 凌空传球triangular pass 三角传球rolling pass, ground pass 滚地传球slide tackle 铲球clearance kick 解除危险的球to shoot 射门grazing shot 贴地射门close-range shot 近射long drive 远射mishit 未射中offside 越位to pass the ball 传球to take a pass 接球spot pass 球传到位to trap 脚底停球to intercept 截球to break through, to beat 带球过人to break loose 摆脱to control the midfield 控制中场to disorganize the defence 破坏防守to fall back 退回to set a wall 筑人墙to set the pace 掌握进攻节奏to ward off an assault 击退一次攻势to break up an attack 破坏一次攻势ball playing skill 控救技术total football 全攻全守足球战术open football 拉开的足球战术off-side trap 越位战术wing play 边锋战术shoot-on-sight tactics 积极的抢射战术time wasting tactics 拖延战术Brazilian formation 巴西阵式，4-2-4 阵式four backs system 四后卫制four-three-three formation 4-3-3 阵式弗雷堡SC Freiburg柏林赫塔Hertha BSC汉堡Hamburger SV凯泽斯劳滕Kaiserslautern科隆Cologne勒沃库森Bayer Leverkusen罗斯托克Hansa Rostock沙尔克04 Schalke 04沃尔夫斯堡VfL Wolfsburg斯图加特VfB Stuttgart纽伦堡Nurnberg圣保利St.Pauli门兴格拉德巴赫Monchengladbach西班牙甲级联赛Spain La Liga阿拉维斯Alaves奥萨苏纳Osasuna巴列卡诺Rayo Vallecano巴塞罗那Barcelona毕尔巴鄂Athletic Bilbao皇家马德里Real Madrid拉科鲁尼亚Deportivo Coruna拉斯帕尔马斯Las Palmas马拉加Malaga马洛卡Real Mallorca塞尔塔Celta Vigo瓦拉杜利德Real Valladolid萨拉戈萨Real Zaragoza皇家社会Real Sociedad比利亚雷亚尔Villarreal瓦伦西亚Valencia西班牙人Espanyol贝蒂斯Real Betis塞维利亚Sevilla特尼里弗Tenerife法国足球甲级联赛France Le Chanpionnat 巴黎圣日尔曼Paris St Germain巴斯蒂亚Bastia波尔多Girondins Bordeaux朗斯RC Lens雷恩Stade Rennes里昂Olympique Lyon马赛Olympique Marseill里尔Lille梅斯Metzfour-two-four formation 4-2-4 阵式red card 红牌（表示判罚出场）yellow card 黄牌（表示警告）kick-out 踢出界sending-off 罚下场place kick 定位球pass 传球stopping 停球relegation 降级penalty 点球league 联赛heading 顶球grouping 分组competition rules 比赛规则protest 对裁判的抗议sellout 球票卖完first (second) half 上（下）半场indicator, score board 记分牌yell （观众的）喊声handclap 鼓掌cross (short, flank) pass 横（短，边界）传close watch 紧盯（人战术）offside 越位overhead throw 边线掷界外球sliding tackle 铲球kick-off 开球free kick 任意球foul 犯规part two:wall 人墙draw 平局cheer team 拉拉队corner kick 角球red (yellow) card 红（黄）牌hat-trick 帽子戏法（一人独进三球）direct (indirect) kick 直接（间接）球eighth-finals 八分之一决赛quarterfinal 四分之一决赛one-side game 一边倒的比赛competition regulations 比赛规则disqualification 取消比赛资格sportsmanship 运动员风格，道德opening ceremony 开幕式semi-final 半决赛摩纳哥Monaco南特Nantes欧塞尔AJ Auxerre特鲁瓦Toulouse色当Sedan甘冈En Avant Guingamp 索肖Sochaux蒙彼利埃Montpellier洛里昂Lorientfirst round 第一轮round-robin 循环赛doping test 药检draw 抽签elimination match 淘汰赛break through 突破overhead kick 倒勾球match ban 禁赛令ranking 排名schedule 比赛日程half time 中场休息。

大航海时代2完全攻略§目录１请问那个资材要如何使用，或如何卖掉，可以赚钱吗？２我该如何控制产品的价格呢？３什麽是最佳防御及攻击武器？４黑市交易５当敌人船长要和我决斗，我能不能拒绝？６比剑有什麽诀窍？为什麽我用Ａ级的武器和盔甲，也常打不过剑术很差的？７怎麽每次我的船队一碰到比自己船多的船队就跑啊？８海战的时候，为什麽敌人打我一炮船就damage 七八点，而我打敌人却都只有一二点？９每次打完後船只状况和「节」数都会掉的很低。

有办法补救吗？10要如何卖船？拿到哪里卖？（打完海盗或敌国舰队）11於航海途中频频遭遇海盗，有无有效的应付之法？12请问如何招募水手？13可不可以变成无国籍的海盗？14职位与属性的关系为何？15为什麽我的「勇气」会下跌呀？16要如何了解运气值?17如何增加运气值？18请问住民搜索，友好度要多少才找得到东东？19我发现村落的时候都是先进行搜索，如果无法发现，提高友好度後再搜索耶!! 这和上述的方法有什麽不一样吗？20船首像有何用处？21请问臼炮如何取得？22投资有什麽用处？23为何有些地方的特产去商店却买不到？24如何取得免税证？25国王叫我找珍奇的宝贝给他，我已经找了两样给他了，他还不满足……26请问爵位有何好处？27打海盗、冒险、贸易该用何船舰？如何配置？28若有不要的船员（有名字的）有办法解雇吗?29名声如何上升？30较小的河流是否要小型船才可进入？否则内陆岂非无法到达？31六个人的剧情大致为何？32约翰的剧情33为什麽路琪亚还找不到？34长安也找不到？35阿兰的剧情36那我女海盗以经有国籍了，该怎麽办？37我的女海盗是奥图曼土耳其的公爵。

现在要升官了，国王指派我去打葡萄牙的战舰。

但此不是问题，我打听到葡萄牙的战舰在里斯本为保卫。

但我到里斯本後，他们躲在港内不肯出来应战...38如何降低别国敌意？39遇到暴风雨怎麽解决？40船舰的状态与什麽因素有关？41找不到古神雕像？42能向国王说「不」吗？43有关电脑的AI ？44除了剧情关系，有些港口也找不到？45如何找寻特定的水手？46为什麽会得坏血病？47私掠许可证有何用途？48请问″经营″那一项有个″粮时分配″如何使用？49港口特产、物品经纬度§本文1 请问那个资材要如何使用，或如何卖掉，可以赚钱吗？资材是修船用的, 只能丢不能卖。

T. S. Eliot. 2005 (1922): La tierra baldía. Edición bilingüe. Introducción y notas de Viorica Patea. Traducción José Luis Palomares. Madrid: Cátedra, Letras Universales, 2005. 328 pp.Paul Scott DerrickUniversitat de ValènciaPaul.S.Derrick@uv.esIt is practically impossible to overestimate the importance of T. S. Eliot’s The Waste Land (1922), not only in the course of twentieth-century poetry in English, but for Western poetry in general. This single poem has been the object of many hundreds of critical articles and book-length studies. And that interest, that cultural fascination, still shows little sign of diminishing.Along with Pound’s Cantos (begun in 1915), Joyce’s Ulysses (1922), Williams’ Spring and All (1923) and Faulkner’s The Sound and the Fury (1929), The Waste Land can be classed as one of a handful of ‘centrepiece texts’ of the first-generation Modernist enterprise. It is a masterwork of constructive destruction, a brilliant application of Cubist collage techniques to language. It is both an expression and a demonstration of the cultural malaise and the crisis of belief that resulted from the First World War. It is a profound experiment in the compression, or codification, of an encyclopaedic body of knowledge—as if we had sensed the need at that point in time to condense our heritage into complex, hermetic forms in order to preserve our cultural memory in the face of some impending disaster. But, in addition, it offers a possible therapy for our illness, an opportunity to put a broken world together again—or at least to practice putting it together again. And in this sense, The Waste Land is a powerful record of a yearning for health, wholeness and holiness (words which are all, as Eliot must have been aware, etymologically connected).The poet himself, however, claimed that he had no such exalted aims in mind in 1921 when, trying to recuperate in Margate from the stress contingent on his gradually disintegrating marriage to Vivien Haigh-Wood, he sat down to write what would eventually become part III, “The Fire Sermon”. (He had begun the poem at the end of 1919 as a long series of stylistic parodies with the title “He Do the Police in Different Voices”. He composed the final section, “What the Thunder Said”, in late 1921 in Lausanne, under the care of a pre-Freudian analyst named Roger Vittoz.) In his own, undoubtedly dissembling words, The Waste Land was intended to relieve “a personal and wholly insignificant grouse against life” (Eliot 1971: 1). All false modesty aside, the question that immediately arises is: how does an insignificant personal complaint get converted into such an astounding religious, philosophical and literary accomplishment?Providing a credible account of such a complicated process might be compared to producing a high-resolution, three-dimensional, multi-sectional holographic map of the occult intestines of the Gordian Knot. But that’s what this edition does. The personal aspects of The Waste Land’s genesis, the stages of its development, its roots in Eliot’s previous experience, the warp and woof of its incredible texture and much much more are masterfully illuminated in Viorica Patea’s lengthy and well-written142Paul Scott Derrick Introduction to this new translation of The Waste Land into Spanish. There seem to be very few of those hundreds of studies the poem has inspired that she is not aware of.It first appeared in the London journal Criterion, in October 1922. It was published one month later in New York in The Dial. For reasons that Eliot never made clear, he decided to append those famous notes to each of the poem’s five sections for its first edition in book form (New York: Boni and Liveright, [December] 1922). Did he do so simply for commercial reasons, to make the book longer? Did he feel the need to protect himself against possible claims of plagiarism? Was it part of the overall strategy of Modernism to present its practitioners as connoisseurs, a subterfuge by which the Modernist poet distinguished himself from the sentimentality of many fin-de-siècle versifiers and emphasized his ‘professionalism’?Or was it a sincere attempt at explanation, to make the poem accessible to more than an elite coterie of privileged readers? Whatever the motives may have been, those notes have raised more questions for serious students of Eliot’s work than they answer and have notoriously become an integral factor in the poem’s lasting fascination.But of course it was not Eliot’s duty, or intention, really to explain his own poem to the public. That is a task for those of us who follow. In this edition, Dr. Patea, Senior Lecturer in American literature at the University of Salamanca and a specialist in Modernist poetry, elucidates the meaning and significance of The Waste Land just about as thoroughly and effectively as it seems possible to do.The book consists of three general sections. The first, the Introduction, provides us with a wealth of background material which is an indispensable aid for an appreciative reading of the text. The second one is a meticulously annotated bi-lingual edition of the poem itself, and its notes, with a translation by José Luis Palomares. And the third, an extremely helpful addition, is an Appendix of ten short texts (1-2 pages), also in bi-lingual format, which are among the most important of The Waste Land’s cornucopia of intertextual references.The Introduction, also structured in three sections, is a well-balanced mix of biographical information and critical assessment of Eliot’s thought and work. This kind of approach is always enlightening, but especially so in the case of an author who went to such extremes to obfuscate the many traces of his personal life that inform his work. We learn about Eliot’s New England family background, and the atmosphere surrounding his childhood; the influence of Irving Babbit and George Santayana during his undergraduate years at Harvard and the early but lasting literary influence of Baudelaire, French Symbolism and the work of Dante.Few readers beyond specialized academic circles are aware that Eliot carried out his graduate studies at Harvard in philosophy. Dr. Patea provides a very informative discussion of this fundamental period in his intellectual development, pointing out the importance for him of teachers such as Josiah Royce, William James, Bertrand Russell and, above all, the subject of his doctoral dissertation (which he completed but, because of the First World War, never defended), the English idealist philosopher F. H. Bradley. Patea is especially effective in signalling the impact of Bradley’s philosophy on Eliot’s poetry and tracing Bradley’s imprint in The Waste Land. This very complex aspect of the poem was first seriously considered by Anne C. Bolgan (1973), who rediscovered Eliot’s dissertation in the Pusey Library at Harvard. Since then, few commentators haveReviews 143 failed at least to mention Bradley, although the most satisfying studies in this respect are probably still those of Schusterman (1988) and Jain (1992).We are also given a good overview of Eliot’s earliest critical essays and how they are intimately linked with the content of the papers he wrote for many of his graduate courses in philosophy, as well as a survey of the development of his poetry and criticism over the course of his life.The second part of the Introduction offers a panorama of detailed information concerning The Waste Land itself and discusses the most important influences contributing to its innovative form and breathtaking scope. We are given a fine description of Ezra Pound’s incisive editorial work. In convincing Eliot to cut out more than 40% of the original text, Pound ensured not only a tighter and stronger organization and a more allusive and esoteric quality, but also a higher degree of Cubist fragmentation. Patea explains how Eliot discovered what he described as ‘the mythical method’—which defines his use of history in the poem—in his own reading of Joyce’s recently-published Ulysses. She also gives a clear account of the use Eliot made of Jessie Weston’s From Ritual to Romance and James Frazer’s The Golden Bough. Because Eliot directly cited these two works in the introductory paragraph of his notes to the poem, their importance is undeniable (regardless of what his motives for appending that material may have been). Patea’s Introduction, however, places them in a much more balanced perspective than usual, within the framework of the mythical method, among a larger number of literary, religious, anthropological and psychological influences.Finally, the third part of the Introduction devotes just over 75 pages to a detailed, insightful and coherent close reading of the poem. Many ingenious metaphors have been invented to illustrate what happens in The Waste Land. My own personal choice is the archaeological site. The ultimate grace of the Eliot/Pound collage technique is that it confronts us with a field of confusing fragments that we need to reconstruct, fragments that happen to be the remains of earlier cultural continuities:the various traditions of the West, primitivism and the wisdom of the East. This act of reconstruction corresponds with the final phase of the Cubist aesthetics. After the painter has analyzed a scene, taken it apart and placed the pieces into a new design, the viewer must complete the process by recreating the original scene (or stimulus) from the confusing cues the painting provides. In the case of The Waste Land though, the original scene, or stimulus, is the whole expanse of Western culture. The reader, like an archaeologist at a dig, is forced to use every bit of intelligence, imagination and knowledge at his or her command to flesh out those fragments, reconstitute them and to recover, or maybe better, recreate the historical continuity those fragments are remnants of. There can be a virtually unlimited number of coherent and valid explications of the poem. But every one of them is, in effect, an individual step toward recovering the health—or the wholeness—of the waste land of Western society. In her particular unfolding of this enigmatic complex of language and cultural memory (and forgetfulness), Dr. Patea applies a fine imagination and a generous intelligence to the large body of knowledge that the first two sections of her essay display.The Waste Land ends with an appeal to Buddhist and Hindu scriptures as offering a possible model for a cure to the spiritual aridity that is destroying the West:144Paul Scott Derrick con estos fragmentos a salvo apuntalé mis ruinasSea, pues, que habré de obligaros. Hierónimo esta furioso otra vez.Datta. Dayadhvam. Damyata.Shanti shanti shanti (285)The poem itself, in spite of its apparently chaotic fragmentation and pervasive air of pessimism, constitutes a journey from despair to hope. “La tierra baldía acaba”, writes Patea,con un atisbo de lo trascendente y la aceptación de lo sagrado. [. . .] La verdad revelada conduce a la conciencia lírica a la realidad de lo inexpresable “donde el significado aún persiste aunque las palabras fallan” [. . .] El poema de Eliot traza el viaje del alma a través del desierto de la ignorancia, del sufrimiento y de la sed de las aspiraciones terrenales.Concluye con la revelación de una realidad que libera su condición fragmentada. En el misterio de la contemplación el ser intuye la plenitud de este estado de conciencia no dual y no objetivable. (170-71)It is probably true that it began as an attempt to relieve “a personal and wholly insignificant grouse against life” (Eliot 1971: 1). But Eliot is an artist whose individual mind came to accommodate the collective mind of his culture. This is an artist who taught himself to write, as he describes it in his early essay ‘Tradition and the Individual Talent’, “not only with his own generation in his bones, but with a feeling that the whole of the literature of Europe from Homer and within it the whole of the literature of his own country has a simultaneous existence and composes a simultaneous order” (Eliot 1964: 4).His ‘insignificant grouse’ therefore inevitably transcends to a universal plane. The Waste Land is a prototype of the verbal collage, a case study of Eliot’s concept of the historical consciousness and the mythical method. It can be thought of as a puzzle to be solved, in which we solve—or resolve—ourselves. Or it might be thought of as a verbal field containing relics of all that we are losing—fragments, mixing memory and desire, forgetfulness and need, pointing us the way toward a new sense of wholeness.Several worthwhile contributions to the general field of Eliot studies have been published in Spain (Gibert 1983; Abad 1992; Zambrano Carballo 1996; Vericat 2004), each one commendable in its own way. But this edition of The Waste Land seems to me to offer Spanish readers the best opportunity to appreciate and to comprehend all of the manifold dimensions of this towering signpost to the Modern (and post-modern) condition.Works CitedAbad, Pilar 1992: Cómo leer a T. S. Eliot. Madrid: Júcar.Bolgan, Anne C. 1973: What the Thunder Really Said: A Retrospective Essay on the Making of “The Waste Land”. Montreal: McGill-Queen’s UP.Eliot, T. S. 1964: Selected Essays. New York: Harcourt Brace & World, Inc.———— 1971: The Waste Land: A Facsimile and Transcript of the Original Drafts Including the Annotations of Ezra Pound. Ed. Valerie Eliot. New York: Harcourt, Brace & Co.Reviews 145 Fraser, James George 1922: The Golden Bough: A Study in Magic and Religion, Abridged ed. New York: The MacMillan Co.Gibert Maceda, María Teresa 1983: Fuentes literarias en la poesía de T. S. Eliot. Madrid: Ediciones de la Universidad Complutense.Jain, Manju 1992: T. S. Eliot and American Philosophy: The Harvard Years. Cambridge: Cambridge UP.Schusterman, Richard 1988: T. S. Eliot and the Philosophy of Criticism. New York: Columbia UP. Vericat, Fabio 2004: From Physics to Metaphysics: Philosophy and Allegory in the Critical Writings of T. S. Eliot. Valencia: Universitat de València, Biblioteca Javier Coy d’estudis nord-americans.Weston, Jesse 1983 (1919): From Ritual to Romance. Gloucester MA: Peter Smith.Zambrano Carballo, Pablo 1996: La mística de la noche oscura: San Juan de la Cruz y T. S. Eliot.Huelva: Servicio de Publicaciones de la Universidad de Huelva.Received 20 May 2006Revised version received 5 October 2006。

欧洲欧洲基本港德国：HAMBURG（汉堡）、BREMERHAVEN（布莱梅哈芬）英国：FELIXSTOWE（费里克斯托）SOUTHAMPTON（南安普顿）荷兰：ROTTERDAM（鹿特丹）比利时：ANTWERP（安特卫普）、ZEEBRUGGE（泽布勒赫）法国：LE HAVRE（勒阿弗尔）除基本港以外的常见欧洲各点（一般通过基本港中转）：比利时:BRUXELLES(布鲁塞尔)德国:BREMEN(布莱梅)英国:EDINBURGH(爱丁堡)、THAMESPORT（泰晤士港）、BELFAST（贝尔法斯特）爱尔兰：DUBLIN（都柏林）、CORK（科克）西班牙：BILBAO（毕尔巴鄂）葡萄牙：LISBON（里斯本）北欧及波罗地海区域挪威：OSLO（奥斯陆）瑞典：STOCKHOLM（斯德哥尔摩）、GOTHENBURG（哥德堡）、MALMO（马尔默）芬兰：HELSINKI（赫尔辛基）、KOTKA（喀特卡）、TURKU（土库）丹麦：AARHUS（奥胡斯）、COPENHAGEN（哥本哈根）爱沙尼亚：TALLINN（塔林）拉脱维亚：RIGA（里加）立陶宛：KLAIPEDA（克莱佩达）俄罗斯：ST.PETERSBURG(圣彼德堡)波兰：GDYNIA（哥丁尼亚）、GDANSK（格丹斯克）东欧：捷克：PRAHA（布拉格）奥地利：VIENNA（维也纳）匈牙利：BUDAPEST（布达佩斯）波兰：WARSAW（华沙）主要经营欧洲航线船公司：EVERGREEN、HANJIN、COSCO、CSCL、MSC、ANL、MISC、NORASIA、YML，PIL, MSK, CMA, ZIM三、地中海航线概述：地中海在交通和战略上均占有重要地位。

它西经直布罗陀海峡可通大西洋，东北经土耳其海峡接黑海，东南经苏伊士运河出红海达印度洋，是欧亚非三洲之间的重要航道，也是沟通大西洋、印度洋间的重要通道。

•地中海线主要分为地西和地东两块，包括了亚德里亚海、黑海、北非区域。

瓦伦西亚足球俱乐部介绍瓦伦西亚足球俱乐部，又称蝙蝠军团，是西班牙足球甲级联赛的足球俱乐部之一。

下面是店铺为你整理的瓦伦西亚足球俱乐部介绍，希望对你有用!瓦伦西亚足球俱乐部简介瓦伦西亚足球俱乐部(Valencia Club de Fútbol，简写：Valencia CF、Valencia，昵称：Los Ches)，又称蝙蝠军团，也可译为“巴伦西亚足球俱乐部”，是西班牙足球甲级联赛的足球俱乐部之一。

1919年创立，位于西班牙的第三大城市瓦伦西亚。

瓦伦西亚是一支有着悠久历史的老牌球队，会员人数为西班牙第三多。

早期球队因身穿白上衣和白短裤，故西班牙有“白幽灵”之称。

瓦伦西亚同城死敌有莱万特，大区死敌比利亚雷亚尔。

瓦伦西亚素以风格平稳见称，其特点为快速攻守转换，高效防守反击的球队。

瓦伦西亚是欧洲闻名的劲旅之一，绝大部分时间都是在西甲中度过的，自从1930/31赛季夺得乙组冠军升上甲组之後，一直都在西甲作赛，直到1985/86赛季意外降班，其后迅即以乙组冠军身份重返甲组，自此球队一直在西甲中运作。

60年代为球队最光辉的时刻，1961/62第四届欧洲博览会杯，球队攻入33个进球，创造了欧洲博览会杯比赛的进球最高纪录，当中包括8强10:3狂胜布达佩斯MTK队，决赛7:3横扫巴塞罗那。

第二年，蝉联了欧洲博览会杯的冠军。

1963/64赛季，华伦西亚期望创造三连冠的神话，但这一次却在决赛中1:2负于萨拉戈萨，屈居亚军。

另外，值得骄傲的是瓦伦西亚曾於1980年获得欧洲优胜者杯的冠军。

接著，瓦伦西亚又在欧洲超级杯力克英格兰的诺丁汉森林，这也是西班牙球队第一次夺得欧洲超级杯。

瓦伦西亚足球俱乐部历史成立1919年，在图利亚河首府的中心的一间名为[TORINO]酒吧里，一群人把建立一队足球队的构思付诸行动了。

瓦伦西亚足球俱乐部孕育而生，她以另一种方式远播故乡的美名，而13世纪成千上万只蝙蝠对于瓦伦西亚第一位征服者的庇护，后来“蝙蝠军团”就由此得名。

《帝国时代2：征服者》四大战役全攻略一.匈奴王篇二.艾西特篇5.瓦伦西亚之王：任务一：生存问题，艾西特再次被阿方索流放（早就知道会是这样了），面临生存问题，开始你(红色）会在9点的位置，向右走，解决掉3各贝伦戈伯爵（紫色）的长剑士后，受到丹尼亚（绿色）村民的欢迎，会有三名长剑士、四名投矛兵加入和四个村民加入，可是这里不安全，贝伦戈伯爵的大军很快就到，丹尼亚这个小镇无法抵抗敌人的大军，带著你的人，继续往右走，到六点方向，过桥后到达雷利达（橙色）的城市，可以收到四个骑士，继续往六点方向走可以收到3各骆驼兵，往地图中央走有一个修道院，可以收到2 个传教士，往右走就可以到瓦伦西亚城了，进城前还要解决几个长枪兵和步弓手的拦截。

任务二：保护瓦伦西亚的建造奇迹，你的玩瓦伦西亚盟友开始在你的城市修建奇迹，这一关，陆地上的木材资源非常少，要依靠有限的木头发展海上资源采集食物，另外黄金资源除了自己城里的一块，离城不远接近地图中部的地方还有一块，你不需要造很多兵，但是要造很多僧侣，敌人的圣剑士和圣殿骑士会发动零星进攻，让僧侣把他们都收为你的部下吧，注意敌人会有几次，比较猛烈的攻城活动，火炮、投石车不少，但是掩护的部队不够多，派骑兵出去搞定攻城武器就会补血，敌人靠近就转化，奇迹一建成你就算胜利了！6.再度征服：任务一：消灭黑卫陆军和黑卫海军，艾西特（红色）不幸中箭身亡，为了使瓦伦西亚的军民士气不受到打击，她的妻子隐瞒了死亡的真相，将他的尸体批甲骑马，立在那，所以，战争中首先要保证艾西特的尸体不受到任何攻击（55555...艾西特...，不过这个情节好像很老套，呵呵），你的城市位于地图中央，有六匹重装骑兵和六匹骆驼兵，8个双手剑士，4 个长枪兵和两辆重型攻城冲车，还有不少的快速喷火船和战舰，位于地图10 点的黑卫陆军（青色）和7点的黑卫海军（黄色）都很弱，黑卫陆军空有大量的攻城武器而缺乏实战兵种，先灭他是个不错的注意，黑卫海军都是些骆驼兵和轻骑兵，也很容易灭掉，把他们两个灭掉后整个左边的大陆就是你的了。

瓦伦西亚橘香浸润的艺术之城西班牙的瓦伦西亚是除了马德里和巴塞罗那之外最出名的西甲劲旅，在西甲有“白幽灵”之称。

瓦伦西亚这座地中海西岸的城市，如同它的球队同样，是个充满灵性的城市：这里的老城区有“百座钟楼城”之称，目睹了 15 世纪瓦伦西亚经济与艺术的繁华；比邻的新城区有公以为全欧洲设计最新奇的科学城。

这个海明威笔下最受吉卜赛女郎热爱的地方，仍是欧洲最大的柑橘生长地，而优良的柑橘早已成为深受年青男女喜爱的果香型香水的主要原料。

香水家族中的柑橘族在现在的香水市场上有上千种香料，把这些香料按家庭同样的分类方法归类，能够叫做“族” 。

在众多如木香族、麝香族、柏香族、花香族中间，有很重要的一支叫柑橘族。

把柑橘族细分，还能够分红柑橘型，柑橘辛香型、柑橘木香型、柑橘芬芳型等。

此中第一和第四种多为男用型。

柑橘是好多有名香水的“前调” ，如问世于 1987 年的帝凡内果香花香型香水；问世于 1997 年的瓦伦蒂诺之纯粹――橘香花香型香水；以及英国出品的乔 ?曼侬香水的代表作“柠檬，罗勒和橘” ,,“前调”，是由香水生产采纳金字塔式结构而来。

前调 (或叫头香、头调 )包含了香水中最简单挥发的成分。

它只好保持很短时间，或许是几分钟，作用是给人最先的整体印象，吸引注意力；中调表现了一款香水最主要的香型，一般要保持最少 4 小时；尾调 (或叫末香、后调 )是香味最长久的部分，也是挥发最慢的部分，一般可保持一天或更长的时间。

新鲜柑橘有一种甜蜜、清爽的香味，作为香水的“前调”，能瞬时开释出和蔼感，拉近人与人之间的距离。

橘香四溢的瓦伦西亚和尊贵典雅的罗意威同属于加泰罗尼亚人，瓦伦西亚没有巴塞罗那那样激烈的激进意识。

地中海的碧海蓝天，最令西班牙人钟情的柑橘园、柠檬树和葡萄园，还有欧洲“米仓”之称的充裕物产，使瓦伦西亚问心无愧地做起了“西班牙的后花园”。

抵达时已近下午，四月尾的烈日暖暖地撒在身上，欧洲人慵懒的生活方式在乎大利和法国被发挥到极限，而西班牙仿佛更有过之 !从机场到市中心一路通畅无阻，只花了20 多分钟。