【必備】學(xué)英語作文錦集6篇
在日常的學(xué)習(xí)、工作、生活中，大家總免不了要接觸或使用作文吧，借助作文可以提高我們的語言組織能力。那么問題來了，到底應(yīng)如何寫一篇優(yōu)秀的作文呢？下面是小編為大家收集的學(xué)英語作文6篇，供大家參考借鑒，希望可以幫助到有需要的朋友。
學(xué)英語作文 篇1
Today is New Year, I wish my wish, very not easy to get this joyful holiday to come. New Year's day, is our country folk ceremonious, the most lively a traditional holiday. I like the New Year, because you can get a red envelope, gather the family livelily, how happy things. Although our house is my mother and I and my sister, but I'm still happy.
Early in the morning, I was waken up by the "or" firecrackers, began my new plan. I happily to find mom, grinning ground to say: "mom, I wish you a happy New Year, more and more beautiful!" Mother to listen to and then said, "that also wish you academic progress, happy every day!" And then solemnly give red packets to me.
In the afternoon, we went to bought a lot of gun, what the tortoise cannons, parachutes, fireworks anyway. By six o 'clock, we according to the convention on the balcony of the rope to hang a big bunch of firecrackers, exciting moment arrived, sister gently walked over, picked up in the hands of sweet braved Mars, carefully lit firecrackers, ran quickly. The gunshot deafening, we had to put his hand over his ears, look at the bright sparks, is very colorful. Then we went to dinner.
The food is delicious, have dumplings, braise in soy sauce meat, green vegetables soup, etc., an appetite is big, I forgot drooling, picked up the chopsticks one breath a soup, with a full stomach I watch TV.
New Year's party was really wonderful ah, have a nice compendium of materia medica, and eye-catching "ring into egg", and "not bad money" zhao4 ben3 shan, is really an eye-opener to me.
The New Year is really makes me unforgettable, like the first the unforgettable tonight!
學(xué)英語作文 篇2
The Impact of the Internet on the Way People Communicate
Internet does exert such a profound effect on our life that it revolutionizes the way of people’s living and thinking. As is subtly revealed in the portrayal，there are two parents sitting in the front of computer，who are chatting with their child on the internet. What a meaningful picture!
From my perspective, the electronic contact cannot replace face to face communication owing to the following factors. To begin with, over-reliance on electronic contact will damage the interpersonal relationship, for the cold machine never replaces a warm-hearted greeting face to face. For example, the aged parents would like their only son who works far away home to come back home more often rather than to talk with him on the internet occasionally. What’s more, face to face communication is preferable because it is beneficial to build a harmonious society, for it attaches more importance on human affection and feelings instead of convenience and speed.
Hence, it is necessary for us to use Internet in a reasonable way. After all, Internet is invented to connect you and me, and to bring conveniences to our life rather than set a barrier to keep people beyond reach. If we want to keep our interpersonal relationship more effectively, we should spend more time with them face to face in real life. Only in this way can we not only make full use of the communication tool on the net but also make our relationship tighter.
互聯(lián)網(wǎng)對(duì)人們交流方式的影響
互聯(lián)網(wǎng)對(duì)我們的生活產(chǎn)生了深遠(yuǎn)的影響，它徹底改變了人們的生活方式和思維方式。正如描述,父母倆坐在電腦面前,與他們的孩子在互聯(lián)網(wǎng)上聊天。這是一幅有意義的漫畫!
從我的角度來看，由于以下因素，電子渠道聯(lián)系不能代替面對(duì)面的交流。首先，過度依賴電子渠道聯(lián)系會(huì)損害人與人之間的關(guān)系，因?yàn)楸涞臋C(jī)器永遠(yuǎn)不會(huì)取代溫暖的問候。例如，年邁的父母會(huì)希望他們?cè)诤苓h(yuǎn)的'地方工作獨(dú)生子回家，而不是偶爾和他在網(wǎng)上聊天。更重要的是，面對(duì)面交流更可取，因?yàn)樗欣跇?gòu)建和諧社會(huì)，因?yàn)樗⒅厝说那楦泻颓楦卸皇潜憷退俣取?/p>
因此，我們有必要以合理的方式使用互聯(lián)網(wǎng)。畢竟，互聯(lián)網(wǎng)是為了聯(lián)系你我而發(fā)明的，給我們的生活帶來方便，而不是設(shè)置障礙讓人們無法到達(dá)。如果我們想要更有效地保持我們的人際關(guān)系，我們就應(yīng)該在現(xiàn)實(shí)生活中花更多的時(shí)間和他們面對(duì)面。只有這樣，我們才能充分利用網(wǎng)絡(luò)上的溝通工具，使我們的關(guān)系更加緊密。
學(xué)英語作文 篇3
there was a bit of a fuss at tate britain the other day. a woman was hurrying through the large room that houses lights going on and off in a gallery, martin creeds turner prize-shortlisted installation in which, yes, lights go on and off in a gallery. suddenly the womans necklace broke and the beads spilled over the floor. as we bent down to pick them up, one man said: perhaps this is part of the installation. another replied: surely that would make it performance art rather than an installation. or a happening, said a third.
these are confusing times for britains growing audience for visual art. even one of creeds friends recently contacted a newspaper diarist to say that he had visited three galleries at which creeds work was on show but had not managed to find the artworks. if he cant find them, what chance have we got?
more and more of londons gallery space is devoted to installations. london is no longer a city, but a vast art puzzle. net to creeds flashing room is mike nelsons installation consisting of an illusionistic labyrinth that seems to lead to a dusty tate storeroom. its the security guards i feel sorry for, stuck in a fau back room fielding tricky questions about the aesthetic merits of conceptual art simulacra and helping people with low blood sugar find the way out.
every london postcode has its installation artist. in sw6 luca vitoni has created a small wooden bo with grass on the ceiling and blue sky on the floor. visitors can enhance the eperience with free yoga sessions. in w2 the serpentine gallery has commissioned doug aitken to redesign its space as a sequence of dark, carpeted rooms with dramatic filmed images of icy landscapes, waterfalls and bored subway passengers miraculously swinging like gymnasts around a cross-like arrangement of four video screens. the gallery used to be stables, you know. not to be outdone, in se1 tate modern has a wonderful installation by juan munoz.
at the launch of this years turner prize show, a disgruntled painter suggested that the ice cream van that parks outside the tate should have been shortlisted. this is a particularly stupid idea. where would we get our ice creams from then?
what we need is the answer to three simple questions. what is installation art? why has it become so ubiquitous? and why is it so bloody irritating?
first question first. what are installations? installations, answers the thames and hudson dictionary of art and artists with misplaced self-confidence, only eist as long as they are installed. thanks for that. this presumably means that if the ice cream van man took the handbrake off his installation van no1, it wouldnt be an installation any more.
the dictionary continues more promisingly: installations are multi-media, multi-dimensional and multi-form works which are created temporarily for a particular space or site either outdoors or indoors, in a museum or gallery.
as a first stab at a definition, this isnt bad. it rules out paintings, sculptures, frescoes and other intuitively non-installational artworks. it also says that anything can be an installation so long as it has art status conferred on it (your flashing bulb is not art because it hasnt got the nod from the gallery, so dont bother writing a funny letter to the paper suggesting it is). the important question is not what is art? but when is art?
the only problem is that this definition also leaves out some very good installations. consider richard wilsons 20:50. it consists of a lake of sump oil that uncannily reflects the ceiling of the gallery. spectators penetrate this lake by walking along an enclosed jetty whose waist-high walls hold the oil at bay. this 1987 work was originally set up in matts gallery in east london, through whose windows one could see a bleak post-industrial landscape while standing on the jetty. the installation, awash in old engine oil, could thus be taken as a comment on thatcherite destruction of manufacturing industries. then something very interesting happened. thatchers ad man charles saatchi put 20:50 in his windowless gallery in west london, depriving it of its contet. but the thames and hudson definition does not allow that this 20:50 is an installation because it wasnt created for that space. this is silly: it would be better to say there were two installations - the one at matts and the other at the saatchi gallery.
or think about damien hirsts in and out of love. in this 1991 installation, butterfly cocoons were attached to large white canvases. heat from radiators below the cocoons encouraged them to hatch and flourish briefly. in a separate room, butterflies were embalmed on brightly coloured canvases, their wings weighed down by paint. the spectator needed to move around to appreciate the full impact of the work. unlike looking at paintings or sculptures, you often need to move through or around installations.
what these two eamples suggest to me is that we are barking up the wrong tree by trying to define installations. installations do not all share a set of essential characteristics. some will demand audience participation, some will be site-specific, some conceptual gags involving only a light bulb.
installations, then, are a big, confusing family. which brings us to the second question. why are there so many of them around at the moment? there have been installations since marcel duchamp put a urinal in a new york gallery in 1917 and called it art. this was the most resonant gesture in 20th century art, discrediting notions of taste, skill and craftsmanship, and suggesting that everyone could be an artist. futurists, dadaists and surrealists all made installations. in the 1960s, conceptualists, minimalists and quite possibly maimalists did too. why so many installations now? after all, two of this years four turner prize candidates are installation artists.
american critic hal foster thinks he knows why installations are everywhere in modern art. he reckons that the key transformation in western art since the 1960s has been a shift from what he calls a vertical conception to a horizontal one. before then, painters were interested in painting, eploring their medium to its limits. they were vertical. artists are now less interested in pushing a form as far as it will go, and more in using their work as a terrain on which to evoke feelings or provoke reactions.
many artists and critics treat conditions like desire or disease as sites for art, writes foster. true, photography, painting or sculpture can do the same, but installations have proved most fruitful - perhaps because with installations the formalist weight of the past doesnt bear down so heavily and the artist can more easily eplore what concerns them.
why are installations so bloody irritating, then? perhaps because in the many cases when craftsmanship is removed, art seems like the emperors new clothes. perhaps also because artists are frequently so bound up with the intellectual ramifications of the history of art and the cataclysm of isms, that those who are not steeped in them dont care or understand. but, ultimately, because being irritating need not be a bad thing for a work of art since at least it compels engagement from the viewer.
but irritation isnt the whole story. i dont necessarily understand or like all installation art, but i was moved by double bind, juan munozs huge work at tate modern. a false mezzanine floor in the turbine hall is full of holes, some real, some trompe loeil and a pair of lifts chillingly lit and going up and down, heading nowhere. to get the full impact, and to go beyond mere illusionism, you need to go downstairs and look up through the holes. there are grey men living in rooms between the floorboards, installations within this installation. its creepy and beautiful and strange, but you need to make an effort to get something out of it.
the same is true for martin creeds lights going on and off, though i didnt find it very illuminating. my work, says martin creed, is about 50% what i make of it and 50% what people make of it. meanings are made in peoples heads - i cant control them.
its nice of creed to share the burden of significance. but sadly for him, few of the spectators were making much of his show last week. his room was often deserted, but the rooms housing isaac juliens boring films and richard billinghams dull videos were packed. maybe creeds aim is to drive people away from installation art, or maybe he is just not understood. whatever. the lights were on, and sometimes off, but nobody was home.
學(xué)英語作文 篇4
There is a newly dissension putting forward these days: Is it legally allowed for Chinese on-campus students to get married before they complete their courses? Some people prefer "yes" while some others prefer "no". Certainly a large number of people just cannot decide which side they should be stand.
近段時(shí)間出現(xiàn)了一個(gè)新問題：中國大學(xué)學(xué)生在完成他們的課程之前結(jié)婚是否合法？有些人說“是的”，有人則說“不”。當(dāng)然有許多人無法決定應(yīng)該站在哪一邊。
In fact, the governments allow on-campus students to get married before they complete their course. There isn' t a regulation proclaimed in writing to forbid marriage of on-campus students. But it must affect those triers.In my opinion, it is unnecessary to forbid on-campus students to get married before they finished their college, however, it shouldn' t be advocated or encouraged. Because, for on-campus students, they play the role as learners. Their main task is to learn. If they married, their school work must be affected and they may not graduate favorably or may not be capable for future works. So, I believe: almost all on-campus students would deal with the question reasoningly .
事實(shí)上，政府允許學(xué)生在畢業(yè)前結(jié)婚。并不是有明文規(guī)定禁止學(xué)生在校園結(jié)婚。但必須對(duì)那些想結(jié)婚的人肯定是有影響的。在我看來，不必要禁止學(xué)生在未畢業(yè)前結(jié)婚，而且不應(yīng)該提倡和鼓勵(lì)。因?yàn)�，校園內(nèi)的學(xué)生他們扮演的.角色是學(xué)習(xí)者。他們的主要任務(wù)是學(xué)習(xí)。如果他們結(jié)婚了，他們的學(xué)業(yè)肯定會(huì)受到影響，也許他們都不能順利畢業(yè)或不能勝任未來的工作。所以，我相信：幾乎所有的在校學(xué)生會(huì)理性的處理這個(gè)問題。
學(xué)英語作文 篇5
I study English with a lot of ways.First I am course before preview. Sensed I study by reading the textbook. Third I am by finding I do not know the word.
Fourth I study English by making flashcard. Fifth I am lecture classes seriously. Sixth after class I am by working with friends.
Seventh go to home and seriously do homework. Eighth I am by listening to tapes before and get up.
學(xué)英語作文 篇6
Beijing, the second largest city,is where i want to visit most. there are several reasons why i would like to visit Beijing. first, beijing is the capital of china, and has a history more than 5000 years. it has been the capital for many dynasties. second, there are many historical buildings, such as The great wall and Summer Palace. therea are also some new stadiums, lnclude The Bird Nest and The Wate Cube. they were built for the 20xx Beijing Olympic Games. I really want to go there and visit all intereing places.
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