Problem: Background: A burlesque is a literary, dramatic or musical work intended to cause laughter by caricaturing the manner or spirit of serious works, or by ludicrous treatment of their subjects. The word derives from the Italian burlesco, which, in turn, is derived from the Italian burla - a joke, ridicule or mockery. Burlesque overlaps in meaning with caricature, parody and travesty, and, in its theatrical sense, with extravaganza, as presented during the Victorian era. "Burlesque" has been used in English in this literary and theatrical sense since the late 17th century.
Context: The word first appears in a title in Francesco Berni's Opere burlesche of the early 16th century, works that had circulated widely in manuscript before they were printed. For a time, burlesque verses were known as poesie bernesca in his honour. 'Burlesque' as a literary term became widespread in 17th century Italy and France, and subsequently England, where it referred to a grotesque imitation of the dignified or pathetic. Shakespeare's Pyramus and Thisbe scene in Midsummer Night's Dream and the general mocking of romance in Beaumont and Fletcher's The Knight of the Burning Pestle were early examples of such imitation.  In 17th century Spain, playwright and poet Miguel de Cervantes ridiculed medieval romance in his many satirical works. Among Cervantes' works are Exemplary Novels and the Eight Comedies and Eight New Interludes published in 1615. The term burlesque has been applied retrospectively to works of Chaucer and Shakespeare and to the Graeco-Roman classics.  Burlesque was intentionally ridiculous in that it imitated several styles and combined imitations of certain authors and artists with absurd descriptions. In this, the term was often used interchangeably with "pastiche", "parody", and the 17th and 18th century genre of the "mock-heroic". Burlesque depended on the reader's (or listener's) knowledge of the subject to make its intended effect, and a high degree of literacy was taken for granted.  17th and 18th century burlesque was divided into two types: High burlesque refers to a burlesque imitation where a literary, elevated manner was applied to a commonplace or comically inappropriate subject matter as, for example, in the literary parody and the mock-heroic. One of the most commonly cited examples of high burlesque is Alexander Pope's "sly, knowing and courtly" The Rape of the Lock. Low burlesque applied an irreverent, mocking style to a serious subject; an example is Samuel Butler's poem Hudibras, which described the misadventures of a Puritan knight in satiric doggerel verse, using a colloquial idiom. Butler's addition to his comic poem of an ethical subtext made his caricatures into satire.  In more recent times, burlesque true to its literary origins is still performed in revues and sketches. Tom Stoppard's 1974 play Travesties is an example of a full-length play drawing on the burlesque tradition.
Question: Who was a famous writer of Burlesque?
Answer: Francesco Berni's

Problem: Background: Javier Pedro Saviola Fernandez (Spanish pronunciation: [xa'bjer 'pedro sa'bjola fer'nandes]; born 11 December 1981) is a retired Argentine professional footballer who played as a forward. Known for his speed, dribbling and ability to score from almost any attacking position on the field, he represented both Barcelona and Real Madrid and was named as the youngest player on Pele's FIFA 100 list of the 125 greatest living footballers in 2004. Due to his ancestry he also holds Spanish nationality since 2004, and he amassed La Liga totals of 196 games and 70 goals over the course of eight seasons; he started and finished his career at River Plate. An Argentine international for seven years, Saviola represented his country at the 2006 World Cup and the 2004 Copa America, where his team reached the final.
Context: In 2001, aged 19, Saviola moved abroad to play for FC Barcelona in a PS15 million transfer. He obtained Spanish citizenship shortly after, thereby not being restricted by the Spanish league maximum on the number of non-European Union citizens allowed in each club. Under coach Carles Rexach, he scored 17 goals in his first season, finishing joint-fourth top scorer in La Liga.  Saviola's second year at the club did not start well, as he only scored two goals in the first half of the season. When Van Gaal was fired and Radomir Antic became the new Barcelona manager, he went on to net 11 goals in the latter half of the campaign; at the start of the following season Frank Rijkaard was appointed as new manager, and the player scored 14 times in the league alone, but was deemed surplus at the club as longtime offensive partner Patrick Kluivert.  Saviola was sent on loan in the summer of 2004, moving to AS Monaco FC in Ligue 1. As he did not fit into Rijkaard's plans he was again loaned out the following year, this time to Spanish club Sevilla FC, in order to replace Real Madrid-bound Julio Baptista; with his new club he won his first title in Europe, conquering the UEFA Cup -- he also scored nine times in the league, good enough for fifth.  Saviola returned to Barcelona for the 2006-07 season, playing in 18 league games, six as a starter, and netting five goals. He benefited greatly from injuries to teammates, most notably to Samuel Eto'o, and added five in as many matches in that season's Copa del Rey, notably a hat-trick against Deportivo Alaves (3-2 win at home, 5-2 aggregate).
Question: Did they win any matches ?
Answer:
3-2 win at home, 5-2 aggregate).