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? 来源：汹涌新闻

和19日晚间的京鲁大战相比，上海申花本轮主时势对武汉三镇显得波涛不惊
。2比0的比分没有太大意外，申花完成?4?月联赛主场全胜，这也是球队本赛季联赛首?次三连胜，虽然让斯卢茨基更知足的是，?球队终于迎来了今年联赛第一场零封
。

?

首发变阵导?演胜局

?

继上一轮主场艰难战胜青岛海牛之后，申花本轮继续坐镇主场迎战来访的武汉三镇
。“接下去平博重心应该是在攻守平衡方面，特殊是防守端举行改善
。”面临海牛丢掉的两球让斯卢茨基下定刻意举行变阵，面临三镇的角逐，米内罗坐在了替补席，而替换其首发的则是此前进场时间未几的谢鹏飞
。

变阵的效果立竿见影
。整个上半场，申花都没有让武汉三镇获得什么像样的进攻时机，第21?分?钟，正是谢鹏飞助攻特谢拉完成一脚折射首开纪录，后者也一连三轮联赛完成进球
。下半场最先5分钟，路易斯又完成一记恣意球破门，申花在换人后稍显被动，但仍将两球优势坚持到了角逐竣事
。

“我们掌控了今天这场角逐的整体节奏，虽然敌手也打出了一些精彩片断，总体来说我照旧比?较知足球队今天的体现
。”斯卢茨基在赞扬全队体现的同时特殊提到了谢鹏飞，“今天谢鹏飞的体现我以为很是好，他尚有两次划分传给路易斯?和杨皓宇的漂亮传球，惋惜没有最终得分
。”

?“照旧通过全队的起劲赢得了这场角逐，各人都很禁止易，赛程很麋集，各人靠意志品质顶下来了
。”?关于自己的体现，谢鹏飞则显得很冷静，“照旧做好自己，清晰自己有几斤几两较量主要，坚持起劲，期待时机，就是这样
。”赛季首次首发就施展精彩，本场角逐?也许是谢鹏飞申花生涯的又?一个要害转折点
。

零封，但防守端仍存问题

本场角逐是申花本赛季中超的首次零封，同时也是申花时隔287天再度在主场取得零封，上一次则要追溯到上赛季申花主场6比0山东泰山的角逐
。但纵?观整?场角逐，申花并没有在防守端拿出具有统治力的体现，尤其在下半场?换人后，武汉三镇曾经两度捉住申花防地的误差完成进球，只不过都由于越位而被判无效
。

?

“关于敌手的两次进球越位，第一个丢球?我的角度看不太清，第二个丢球后防泛起了一些松懈
。”斯卢茨基在赛后也谈及了武汉三镇的两粒越位进球，他也亲承球队距离?他理想中的状态尚有距离，“我所追求的攻守平衡肯定是需要一个历程来告竣，球队今天的体现肯定是优于上一场角逐的，可是完全抵达我心目中的攻守平衡我们还需要更多的起劲
。”

三连胜竣事一连的三场主场比?赛，接下来申花将一连三轮奔赴客场，划分对阵实力不俗的山东泰山、成都蓉城和梅州客家
。“下一场角逐将时隔一周之后开打，已往几场角逐赛程麋集，我们很难有完整的备战周期，更多的精神用在了球队恢复上
。我想在接下去的一周时间?里，我们会认真应对安排
。”

想必斯帅安排重点定然落在进一?步完善球队的攻守平衡上，今天变阵的效果以及谢鹏飞的体现也无疑能带给斯帅一定的启发
。谢鹏飞、高天意、杨泽翔等替补轮换是否会在即将到来的三连客之旅中获得更多时机，这也许是申花能否在接下来的赛程中继续体现精彩的要害
。

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  。
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  。
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  。
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点评官方版

LINCOLN IN THE BARDOBy George Saunders343 pages. Random House. $28. George Saunders’s first novel, “Lincoln in the Bardo,” is like a weird folk art diorama of a cemetery come to life. Picture, as a backdrop, one of those primitively drawn mourning paintings with rickety white gravestones and monuments standing under the faded green canopy of a couple of delicately sketched trees. Add a tall, sad mourner, grieving over his recently deceased son. And then, to make things stranger, populate the rest of the scene with some Edward ghosts, skittering across the landscape — at once menacing, comical and slightly . “Lincoln in the Bardo” takes, as its point, the death of Abraham Lincoln’s beloved son, Willie, who succumbed to typhoid fever on Feb. 20, 1862, and the president’s visits to the crypt where his son was interred at the Oak Hill Cemetery in nearby Georgetown. Saunders intercuts facts and (culled from books and news accounts) in a narrative with some ghost stories of his own imagining, allowing a chorus of disembodied spirits to describe Lincoln’s visits, while babbling on about their own regrets and misplaced dreams. “Bardo” is the Tibetan Buddhist name for a transition period between death and rebirth and seems to indicate, in this case, the bizarre purgatory inhabited by these ghosts. The supernatural chatter can grow tedious at times — the novel would have benefited immensely from some judicious pruning — but their voices gain emotional momentum as the book progresses. And they lend the story a choral dimension that turns Lincoln’s personal grief into a meditation on the losses suffered by the nation during the Civil War, and the more universal heartbreak that is part of the human condition. The ghosts are a motley lot, reminiscent of the dispossessed and disenfranchised characters in Saunders’s short stories. They include a soldier, a murderer, a disgraced clerk, a rape victim, a hunter who’s killed more than 30 bears and hundreds of deer, an aggrieved scholar, a mother of three girls, a young man who tried to kill himself after the man he loved spurned his affections, and an older man who was struck in the head by a falling ceiling beam and died before he could consummate his marriage to his pretty young wife. Together, these voices create a kind of portrait of an American community — not unlike the one in Edgar Lee Masters’s 1915 classic, “Spoon River Anthology,” which was set in a fictionalized version of a small Illinois town. The poems in “Spoon River” were narrated from beyond the grave by the dozens of souls “sleeping on the hill” in the local cemetery. One of those characters was Anne Rutledge, rumored to have been Lincoln’s first love, and whose untimely death — reportedly of typhoid at the age of 22 — was said to be a source of his often melancholy outlook on the world. The similarities between “Spoon River” and Saunders’s new novel extend well beyond the Lincoln association and the graveyard confessions. Like Sherwood Anderson’s “Winesburg, Ohio” (1919) — itself a notable influence on Saunders’s early short stories — and Thornton Wilder’s “Our Town” (1938) “Lincoln in the Bardo” appropriates Masters’s multivoiced approach, using it to create a story that unfolds into a meditation on the dreams and disappointments of ordinary people, longing for connection but often left feeling isolated and alone. Saunders’s short stories — “CivilWarLand in Bad Decline,” “Pastoralia,” “In Persuasion Nation” and “Tenth of December” — tend to vacillate between two impulses: satire and black comedy, reminiscent of Nathanael West and Kurt Vonnegut and a more empathetic mode, closer to Anderson and William Trevor. Though there are moments of dark humor in some of the ghost stories here, “Bardo” definitely falls into the more introspective part of that spectrum. In these pages, Saunders’s extraordinary verbal energy is harnessed, for the most part, in the service of capturing the pathos of everyday life — as experienced by the spirits of the dead, remembering missed opportunities by Willie, as his life slips away and he enters the limbo of the bardo and by Lincoln, as he struggles to come to terms with his son’s death and the devastation of a war that is ripping the country apart. Saunders’s novel is at its most potent and compelling when it is focused on Lincoln: a grave, deeply compassionate figure, burdened by both personal grief and the weight of the war, and captured here in the full depth of his humanity. In fact, it is Saunders’s beautifully realized portrait of Lincoln — caught at this hinge moment in time, in his own personal bardo, as it were — that powers this book over its more static sections and attests to the author’s own fruitful transition from the short story to the form of the novel. “His mind was freshly inclined toward sorrow,” Saunders writes of Lincoln, “toward the fact that the world was full of sorrow, that everyone labored under some burden of sorrow that all were suffering that whatever way one took in this world, one must try to remember that all were suffering (none content all wronged, neglected, overlooked, misunderstood) and therefore one must do what one could to lighten the load of those with whom one came into contact that his current state of sorrow was not uniquely his, not at all, but, rather, its like had been felt, would yet be felt, by scores of others, in all times, in every time, and must not be prolonged or exaggerated, because, in this state, he could be of no help to anyone and, given that his position in the world situated him to be either of great help or great harm, it would not do to stay low, if he could help it. ”同时我们尚有高尔夫球场，私人会所，知足种种企业高端商务社交的场景 其时，他躺在一块用小木板制成的暂时担架上，高举起右手，向8位抬着他的解放军战士敬礼
。