像吸血鬼骑士，天国少女，sa特优生， 华丽的挑战一样的动漫

Wilfried Knight这个名字中文的意思是"勇敢,骑士"或许这就是法国人浪漫的性格使然wilfrid knight 是法国人,有大学法律学士学位,未拍G片前在伦敦一间健康公司做主管,是米高卢卡斯把他发掘出来拍G片的

你很喜欢肖恩吗，我很喜欢他的**他的007系列很是经典而且他宝刀未老，出演了许多经典影片，我最喜欢他和凯奇合作的勇闯夺命岛中他的表演了，帅呆了，正是他的骁勇与不逊，使他有着越老越成熟的魅力，并在世界最有魅力的男人的排名上一直名列前茅，如果你和我一样喜欢他的表演希望以下的资料能帮到你 肖恩-康纳利

本名: Sean Connery

生日：1930年8月5日

出生地：苏格兰，爱丁堡

妻子：Micheline Roquebrune

主要作品：

《诺博士》（007系列）、《铁面无私》、《勇闯夺命岛》、《偷天陷阱》

荣誉：

1987年第六十届奥斯卡最佳男配角奖（《铁面无私》）

影迷信箱：

C/O Creative Artists Agency, 9830 Wilshire Blvd, Beverly Hlls, CA 90212

好莱坞大导演斯皮尔伯格对他少时崇拜的影星--肖恩-康纳利的评价是：世界上总共只有七个真正的**明星，肖恩-康纳利是其中之一。

确实，年过七十的肖恩-康纳利魅力不减当年，始终被视为性感偶像。最近美国《新青年》杂志利用网络进行了调查，根据16000多名读者的投票结果，当选“本世纪最性感男人”的居然是年过七旬的老“007”--肖恩-康纳利。1998年在英国举行的一次民意调查中，六十八岁的肖恩和二十三岁的凯特-温斯莱特分别夺得“最性感男女演员”的称号。肖恩-康纳利，堪称演艺圈中的一大奇迹。

肖恩1930年8月5日出生于苏格兰首府爱丁堡的一个工人家庭，从小家庭生活就十分困难，靠父亲每周两英镑的收入和母亲给人家当女佣的微薄补贴度日。清贫的家境使得他13岁就辍学开始谋生，16岁入海军服役，但严重的胃溃疡却使他从军不到三年就被迫退伍，返回了故乡爱丁堡。由于没有学历，也不可能找到个理想的工作，他先后做过泥瓦匠、货车司机、棺材匠、私人保镖。1950年，他在工作之余，参加了健身俱乐部，练就了一身好体格，这为他日后扮演“007”打下了基础。同年，在伦敦举行“世界先生”选拔赛，身材高大，体质健壮的他赢取了环球先生(MrUniverse)的参赛资格，并被“南太平洋歌舞团”招聘为合唱队员，从此踏入演艺圈，在十几部电视片和影片中担任一些小角色。1958年在一部名为《另一时段，另一地点》(Another Time, Another Place)中，由于健美的体魄使他赢得了片中的一个重要角色。

1962年肖恩主演了“007”系列的第一集《诺博士》(Dr NO)，从此开创了不朽的“邦德”时代。这部影片改变了他的一生，只要一提起肖恩-康纳利，人们马上会联想到潇洒、机敏的英国间谍詹姆斯-邦德。第二年他又拍了一部邦德片《俄罗斯之恋》(From Russia With Love)，这是他所拍的七部邦德片中他自己最喜欢的一部。接着，他又拍了第三部“007”影片《金手指》(Gold finger)、第四部《晴天霹雳》，一部比一部卖座。到1965年，他已经成为英美两国最具票房号召力的明星之一。1967年后，肖恩便拒绝再演间谍，于是1969年的邦德片《为女王陛下秘密效劳》便改由澳大利亚籍的乔治-拉辛主演。这部影片完全失败了。于是制片人艾伯特-布罗克科利又说服肖恩再次扮演“007”，于1971年拍了《永恒的钻石》。邦德系列片打入了世界市场，但拍完这一部，肖恩坚决不再干了。从此，银幕上的“007”便改由罗杰-摩尔担任。12年后，1983年，另一个制片人杰克-施瓦茨曼也想拍一部“007”影片《永不说不》(Never say never again)，原来是请肖恩作顾问，但不久影片就到了非肖恩演不可的地步。于是，这一年两部邦德片同时上映：肖恩-康纳利的《永不说不》和罗杰-摩尔的《章鱼》。

间谍“007”使肖恩出了名，赢得了不计其数的影迷。凭着其英雄的气慨、绅士的风度、迷人的姿态吸引了千百万观众，成为世界级大明星。但是他并不喜欢这个人物，他说：“要是除去那些花里呼梢的东西，他不过是个平庸的英国警察罢了。在真实生活中我如果遇到他，一定不会喜欢他。他跟我根本不是一类人。”与此同时他扮演的其他角色并未引起应得的重视。于是肖恩决心罢演“邦德”转而尝试其他戏路。1965年，纽约导演吕美特请他拍《山岳》一片，给他打开了发挥演员才能的另一条道路，但在接下来的几篇其他的影片，都不太成功。其中包括1974年主演的《东方快车谋杀案》(Murder on the ORIENT Express)、1975年的《The wind and the lion》、1976年《罗宾与玛丽安》(Robin and Marian)。

时至80年代，60高龄的肖恩迎来了他演艺事业的第二秋。他接连拍摄了六七部**，并且每一部都很成功。1987年，他因在影片《铁面无私》》(The Untouchables)中扮演正直的老警官马龙而获得奥斯卡最佳男配角奖。片中肖恩-康纳利完全突破“007”的模式，其精湛的演技再次令人惊叹不已。后来，他又相继出演了一系列影片，并获得了一个又一个的成功。在《猎杀红十月号》(The hunt for Red October 1990)中他扮演了苏联潜艇指挥官；《俄罗斯之家》(The Russia house 1990)中和谒可亲、德高望重的老长者；《正义的事业》(1995)中坚持正义、公平的法律老教授；《第一骑士》(First knight 1995)中的英勇公正的亚瑟王；《绝地任务》(The rock 1996)中饰演一个挽救旧金山百万平民百姓于水火的英国老特务。在1999年浪漫惊险片《偷天陷阱》(Entrapment)中，肖恩转而饰演一名超级窃贼，与英籍女演员凯瑟琳-泽塔-琼斯演对手戏，影片获得了巨大成功。

在肖恩所拍的四、五十部影片，有不少是演配角。有人曾问他，以他这么一个国际明星，为什么会接受配角？他说：“我知道美国明星是不愿意演配角的，我真不明白为什么。如果我认为某件事有独创性，有价值，我就会很高兴去做，不会有什么顾虑。”正如这位“美髯公”在奥斯卡颁奖典礼上所说“我早在30年前就来到这里。忍耐乃美德。这个奖虽说是配角奖，但也是对我整个表演生涯的一种肯定与鼓励”也许正因为如此，肖恩从影四十年仍然保持艺术的青春。今年父亲节前夕，英国一个男性护肤品牌举办了一个“理想父亲”选举，由五百名英国男士投票选出他们心目中的最理想名人父亲，结果老牌“007”肖恩-康纳利成为英国男士的首选。这位“本世纪最性感男人”与“最理想的父亲”，还在今年7月5日被英国女王伊丽莎白二世授予爵士头衔，成为了颇具传奇色彩的“千年骑士”。

获奖记录：1987年以《铁面无私》一片获第六十届奥斯卡最佳男配角奖。

主要影片： 2003年 《特别绅士联盟》(The League of Extraordinary Gentlemen)

1999年 《偷天陷阱》（Entrapment）

1996年 《绝地任务》（The Rock）

1995年 《第一骑士》（First Knight）

1993年 《旭日追凶》（The Rising Sun）

1991年 《侠盗罗宾汉》（Robin Hood: Prince of Thieves）

1990年 《猎杀红色十月》（The Hunt For Red October）

1989年 《圣战奇兵》（Indiana Jones and the Last Crusade）

1987年 《铁面无私》（The Untouchables）

1986年 《玫瑰的名字》（The Name Of The Rose）

1983年 《永不说不》（Never say never again）

1979年 《火车大劫案》（The Great Train Robbery）

1976年 《罗宾与玛丽安》（Robin and Marian）

1974年 《东方快车谋杀案》（Murder On The Orient Express）

1964年 《金手指》（Goldfinger）

1963年 《俄罗斯之恋》（From Russia With Love）

1962年 《诺博士》（Dr NO）

1少年阴阳师

安倍昌浩——十三岁的半吊子阴阳师，到13岁才行元服之礼。在晴明的子孙中，是最浓厚继承了天狐之血的，作为晴明的唯一的继承者，其实力得到了众神的认可，但其本人却茫然不知。个性好强，讨厌的话语是“那个晴明的孙子！” 为了成为“最伟大的阴阳师”，昌浩及其同伴小怪一同展开了修行……

某日，在大内发生了火灾的同时，在左大臣的东三条殿也遭到异形的袭击。迄今为止从未察觉到的妖气，不断释放出危险气息逼近的正是来自遥远的西方大陆的妖怪，他们为了给负伤的主人——穷奇治疗，瞄上了拥有极其强大灵力的左大臣之女——彰子姬……

而后打败了穷奇，救下了彰子的昌浩，在忍受着误以为昌浩不认真工作的先辈阴阳生——藤原敏次所带来的不快的同时，继续工作。不久，平时颇为照顾昌浩的藤原行成突然遭到恶灵袭击，身染重病，生命垂危。此后，京都内发生了一连串怨灵作乱事件。彷徨四窜的灵，突然兴起的百鬼夜行。这一切事件的发生，都是由不断袭击晴明的女术师——风音所操纵……

用自己的生命换回红莲的昌浩，靠其去世的祖母——若菜的祈愿。奇迹般地得以重返人世。但是，作为复活的代价，他的见鬼之力就此丧失。在失去阴阳师重要的灵力的昌浩前，新的敌人出现了……在代替彰子入宫的中宫章子身边，有神秘的黑影悄悄接近。此时，晴明天命之时也开始临近……

总之是很好看的，人物是很美型，尤其是作为日本著名的美男子安倍晴明和他的十二个神将们，男主安倍昌浩和女主藤原彰子的朦朦胧胧的爱情，十二神将天一朱雀生死相随的爱情，六合与道反大神之女风音的爱情，目前是出了第一季，后面的后续是以小说的形式出的，不如说是先有小说后出动画很值得一看……（可以先试着看一集)

2彩云国物语

故事的舞台为中国风的架空国度 - 彩云国。传说中，一名青年借助彩八仙的力量，建立彩云国。因此，彩云国领土划分成红州、黄州、碧州、蓝州、紫州、黑州、白州、茶州共八州。约600年前，当时的国王命令各州豪族以这八色为姓，并禁止平民与这八侯同姓，所以拥有这八色姓氏的人便意味着是贵族中的贵族。另外，由于首都所在的紫州侯兼任为王，因此从此紫氏便成为代表王族的姓氏。 红秀丽虽然出身于名门红家，但却过着贫穷的生活。只好为了生计而经常四处工作赚钱以便贴补家用。幼时经历过王位之争的动乱，深知民间疾苦，因此自小她便用功学习，希望能通过国试当上官吏，辅佐国王，建立一个富足安乐的国家。可是，身为女性的她不能参加国试。一天，秀丽因高额报酬而接受了霄太师的委托，以贵妃的身份进入后宫，教导辅助不理政事的昏君。以此作为契机，秀丽迈向官吏之路，并邂逅各式各样的人。

要知道难得有日本人可以把中国古代的东西花的那么好，我很喜欢的一部少女动画

3遥远的时空中

普通的女高中生元宫茜和朋友森村天真、流山诗纹突然被一个叫做「京」的异世界(也就是日本平安时代的首都平安京今天的京都）召去。原来元宫茜是龙神的神子，拥有和龙神相同的力量。元宫茜遇到了鬼之一族的首领亚克拉姆，亚克拉姆让她留在「京」这个异世界，并且保护这个异世界，但是元宫茜不能相信自己是龙神的神子这个事实，并且和天真，诗纹想办法回到自己的世界，但没有成功。接下来元宫茜开始意识到自己是龙子，只有解救「京」这个异世界，才能回到自己的世界。于是和有保护龙子任务的八叶一起解救「京」这个异世界。

八叶吖---八个不同类型的美男子，总会有喜欢的--

4吸血鬼骑士

第一季，一个寒冷雪夜，年幼的黒主优姬意外遇上 LEVEL E级的吸血鬼。在这个吸血鬼向优姬露出獠牙的生死时刻，另一个名叫玖兰枢的纯血种吸血鬼救了她，并将她带到黑主学园请求园长（黑主灰阎）收留。黑主学园除了一般学生就读的日间部外，还存在着夜间部。在夜间部就读的学生都是十分俊美优秀的人物。不过这里却隐藏着不为日间部学生所知的秘密——夜间部的学生全都是高级吸血鬼。十年后，为了维持学院安宁，优姬和同被园长收留的锥生零一起担任学园的“风纪委员”，守护这个秘密。而受人尊敬的，也是优姬非常倾慕的玖兰枢，更是被称为“吸血鬼中的君主”的纯血种，是站在吸血鬼金字塔端的最高种族。如果被纯血种吸血，就会变为LEVEL D(曾经是人的吸血鬼,在经过一段时间就会变成LEVEL E)。而锥生零作为g吸血鬼猎人，却在一次家难中不幸被同样是纯血种的绯樱闲所咬。绯樱闲杀死了零的家人，带走了他的弟弟一缕，所以零非常憎恨吸血鬼（尤其是纯血种）。

第二季中，因为优姬曾被树里（优姬的母亲）封印了五岁之前的记忆，而饱受记忆碎片的煎熬，所以枢用自己的血唤醒了她。而她正是吸血鬼界里玖兰家族的纯血公主，是枢的亲妹妹。为了得到纯血公主优姬的血，玖兰李土（优姬的叔叔）再次复活。因为零多次吸食了枢和优姬的血，所以获得了强大的力量，一举打败李土。其实枢之所以让零吸他的血，是为了他唯一珍爱的优姬，他计划着利用零杀死李土，这样就不会威胁到优姬。然而自己不去亲手解决玖兰李土，是因为玖兰李土是将自己纯血吸血鬼灵魂唤醒的人，无法将其杀死。 优姬恢复了吸血鬼的身份，也与零成为了对立的关系。所以她同枢离开了。而作为枢的未婚妻的优姬，（为了将纯血统的血统保存下来亲兄妹可以结婚）心里还牵挂着零。而零也在学院门口徘徊，眼前又出现了优姬的身影……再次相遇，零会亲手杀死优姬，作为吸血鬼猎人与纯血吸血鬼是势不两立的。

人物很美型，至今最好的吸血鬼少女动漫，关系很纠结复杂，女主到底选择那一个也很让人在意……

给你发来微软百科的说明

Romanticism (literature)

I INTRODUCTION

Romanticism (literature), a movement in the literature of virtually every country of Europe, the United States, and Latin America that lasted from about 1750 to about 1870, characterized by reliance on the imagination and subjectivity of approach, freedom of thought and expression, and an idealization of nature The term romantic first appeared in 18th-century English and originally meant “romancelike”—that is, resembling the fanciful character of medieval romances

II ORIGINS AND INSPIRATION

By the late 18th century in France and Germany, literary taste began to turn from classical and neoclassical conventions (see Classic, Classical, and Classicism) Inspiration for the romantic approach initially came from two great shapers of thought, French philosopher Jean Jacques Rousseau and German writer Johann Wolfgang von Goethe

A The Romantic Spirit

Rousseau established the cult of the individual and championed the freedom of the human spirit; his famous announcement was “I felt before I thought” Goethe and his compatriots, philosopher and critic Johann Gottfried von Herder and historian Justus Möser, provided more formal precepts and collaborated on a group of essays entitled Von deutscher Art und Kunst (Of German Style and Art, 1773) In this work the authors extolled the romantic spirit as manifested in German folk songs, Gothic architecture, and the plays of English playwright William Shakespeare Goethe sought to imitate Shakespeare's free and untrammeled style in his Götz von Berlichingen (1773; translated 1799), a historical drama about a 16th-century robber knight The play, which justifies revolt against political authority, inaugurated the Sturm und Drang (storm and stress) movement, a forerunner of German romanticism Goethe's novel The Sorrows of Young Werther (1774; translated 1779) was also in this tradition One of the great influential documents of romanticism, this work exalts sentiment, even to the point of justifying committing suicide because of unrequited love The book set a tone and mood much copied by the romantics in their works and often in their personal lives: a fashionable tendency to frenzy, melancholy, world-weariness, and even self-destruction

B The Romantic Style

The preface to the second edition of Lyrical Ballads (1800), by English poets William Wordsworth and Samuel Taylor Coleridge was also of prime importance as a manifesto of literary romanticism Here, the two poets affirmed the importance of feeling and imagination to poetic creation and disclaimed conventional literary forms and subjects Thus, as romantic literature everywhere developed, imagination was praised over reason, emotions over logic, and intuition over science—making way for a vast body of literature of great sensibility and passion This literature emphasized a new flexibility of form adapted to varying content, encouraged the development of complex and fast-moving plots, and allowed mixed genres (tragicomedy and the mingling of the grotesque and the sublime) and freer style

No longer tolerated, for example, were the fixed classical conventions, such as the famous three unities (time, place, and action) of tragedy An increasing demand for spontaneity and lyricism—qualities that the adherents of romanticism found in folk poetry and in medieval romance—led to a rejection of regular meters, strict forms, and other conventions of the classical tradition In English poetry, for example, blank verse largely superseded the rhymed couplet that dominated 18th-century poetry The opening lines of the swashbuckling melodrama Hernani (1830; translated 1830), by the great French romantic writer Victor Hugo, are a departure from the conventional 18th-century rules of French versification; and in the preface to his drama Cromwell (1827; translated 1896), a famous critical document in its own right, Hugo not only defended his break from traditional dramatic structure but also justified the introduction of the grotesque into art In their choice of heroes, also, the romantic writers replaced the static universal types of classical 18th-century literature with more complex, idiosyncratic characters; and a great deal of drama, fiction, and poetry was devoted to a celebration of Rousseau's “common man”

III THE GREAT ROMANTIC THEMES

As the romantic movement spread from France and Germany to England and then to the rest of Europe and across to the western hemisphere, certain themes and moods, often intertwined, became the concern of almost all 19th-century writers

A Libertarianism

Many of the libertarian (see Libertarianism) and abolitionist movements of the late 18th and early 19th centuries were engendered by the romantic philosophy—the desire to be free of convention and tyranny, and the new emphasis on the rights and dignity of the individual Just as the insistence on rational, formal, and conventional subject matter that had typified neoclassicism was reversed, the authoritarian regimes that had encouraged and sustained neoclassicism in the arts were inevitably subjected to popular revolutions Political and social causes became dominant themes in romantic poetry and prose throughout the Western world, producing many vital human documents that are still pertinent The year 1848, in which Europe was wracked by political upheaval, marked the flood tide of romanticism in Italy, Austria, Germany, and France

In William Tell (1804; translated 1825), by German dramatist Friedrich von Schiller, an obscure medieval mountaineer becomes an immortal symbol of opposition to tyranny and foreign rule In the novel The Betrothed (1825-1827; translated 1834), by Italian writer Alessandro Manzoni, a peasant couple become instruments in the final crushing of feudalism in northern Italy Lord Byron and Percy Bysshe Shelley, who for some most typify the romantic poet (in their personal lives as well as in their work), wrote resoundingly in protest against social and political wrongs and in defense of the struggles for liberty in Italy and Greece Russian poet Aleksandr Sergeyevich Pushkin, whose admiration for the work of Byron is clearly manifested, attracted notoriety for his “Ode to Liberty” (1820); like many other romanticists, he was persecuted for political subversion

The general romantic dissatisfaction with the organization of society was often channeled into specific criticism of urban society La maison du berger (The Shepherd's Hut, 1844), by French poet Alfred Victor de Vigny, expresses the view that such an abode has more nobility than a palace Earlier, Rousseau had written that people were born free but that everywhere civilization put them in chains This feeling of oppression was frequently expressed in poetry—for example, in the work of English visionary William Blake, writing in the poem “Milton” (about 1804-1808) of the “dark Satanic mills” that were beginning to deface the English countryside; or in Wordsworth's long poem The Prelude (1850), which speaks of “ the close and overcrowded haunts/Of cities, where the human heart is sick”

B Nature

Basic to such sentiments was an interest central to the romantic movement: the concern with nature and natural surroundings Delight in unspoiled scenery and in the (presumably) innocent life of rural dwellers is perhaps first recognizable as a literary theme in such a work as “The Seasons” (1726-1730), by Scottish poet James Thomson The work is commonly cited as a formative influence on later English romantic poetry and on the nature tradition represented in English literature, most notably by Wordsworth Often combined with this feeling for rural life is a generalized romantic melancholy, a sense that change is imminent and that a way of life is being threatened Such intimations were early evinced in “Ode to Evening” (1747) by William Collins, “Elegy Written in a Country Churchyard” (1751) by Thomas Gray, and The Borough (1810) by George Crabbe The melancholic strain later developed as a separate theme, as in “Ode on Melancholy” (1820) by John Keats, or—in a different time and place—in the works of American writers: the novels and tales of Nathaniel Hawthorne, which probe the depths of human nature in puritanical New England, or the macabre tales and melancholy poetry of Edgar Allan Poe

In another vein in American literature, the romantic interest in untrammeled nature is found in such writers as Washington Irving, whose Sketch Book of Geoffrey Crayon, Gent (1819-1820), a collection of descriptive stories about the Hudson River valley, reflects the author's knowledge of European folktales as well as contemporary romantic poetry and the Gothic novel The Leather-Stocking Tales by James Fenimore Cooper celebrate the beauty of the American wilderness and the simple frontier life; in romantic fashion they also idealize the Native American as (in Rousseau's phrase) the “noble savage” By the middle of the 19th century the nature tradition was absorbed by American literary transcendentalism, chiefly expressed in the essays of Ralph Waldo Emerson and Henry David Thoreau

C The Lure of the Exotic

In the spirit of their new freedom, romantic writers in all cultures expanded their imaginary horizons spatially and chronologically They turned back to the Middle Ages (5th century to 15th century) for themes and settings and chose locales ranging from the awesome Hebrides of the Ossianic tradition, as in the work of Scottish poet James MacPherson (see Ossian and Ossianic Ballads), to the Asian setting of Xanadu evoked by Coleridge in his unfinished lyric “Kubla Khan” (1797) The compilation of old English and Scottish ballads by English poet Thomas Percy was a seminal work; his Reliques of Ancient English Poetry (1765) exerted a significant influence on the form and content of later romantic poetry The nostalgia for the Gothic past mingled with the tendency to the melancholic and produced a fondness for ruins, graveyards, and the supernatural as themes In English literature, representative works include Keats's “The Eve of St Agnes,” the Gothic novels of Matthew Gregory Lewis, and The Castle of Otranto (1764) by Horace Walpole The Lay of the Last Minstrel (1805), by Scottish writer Sir Walter Scott, and his historical novels, the Waverley series (1814-1825), combine these concerns: love of the picturesque, preoccupation with the heroic past, and delight in mystery and superstition

D The Supernatural

The trend toward the irrational and the supernatural was an important component of English and German romantic literature It was reinforced on the one hand by disillusion with 18th-century rationalism and on the other by the rediscovery of a body of older literature—folktales and ballads—collected by Percy and by German scholars Jacob and Wilhelm Karl Grimm (see Grimm Brothers) and Danish writer Hans Christian Andersen From such material comes, for example, the motif of the doppelgänger (German for “double”) Many romantic writers, especially in Germany, were fascinated with this concept, perhaps because of the general romantic concern with self-identity Poet Heinrich Heine wrote a lyric apocryphally titled “Der Doppelgänger” (1827; translated 1846); The Devil's Elixir (1815-1816; translated 1824), a short novel by E T A Hoffmann, is about a double; and Peter Schlemihl's Remarkable Story (1814; translated 1927), by Adelbert von Chamisso, the tale of a man who sells his shadow to the devil, can be considered a variation on the theme Later, Russian master Fyodor Mikhaylovich Dostoyevsky wrote his famous novel The Double (1846), an analysis of paranoia in a humble clerk

IV DECLINE OF THE TRADITION

By about the middle of the 19th century, romanticism began to give way to new literary movements: the Parnassians and the symbolist movement in poetry, and realism and naturalism in prose

See also American Literature: Poetry; American Literature: Prose; Brazilian Literature; Danish Literature; Dutch Literature; English Literature; French Literature; German Literature; Italian Literature; Latin American Literature; Polish Literature; Portuguese Literature; Russian Literature; Spanish Literature; Swedish Literature

Contributed By:

Robert J Clements

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