關(guān)于學(xué)英語作文錦集六篇
在日常學(xué)習(xí)、工作或生活中，大家總免不了要接觸或使用作文吧，寫作文是培養(yǎng)人們的觀察力、聯(lián)想力、想象力、思考力和記憶力的重要手段。作文的注意事項(xiàng)有許多，你確定會寫嗎？下面是小編整理的學(xué)英語作文6篇，僅供參考，歡迎大家閱讀。
學(xué)英語作文 篇1
The Twoay Weekend
Generally speaking, twoay weekends are not only a time for us college students to relax, but also a time to improve ourselves. To test from a week’s hard work, we have plenty of recreation opportunities. We can read to our hearts’ content, can go sightseeing, and can play games with our friends. Some students find partime jobs at weekends so that they can ease their families’ financial burdens.
However, some students are just wasting their time. Some spend their time playing cards, and even drinking and eating with their friends. Some spend the whole weekend going traveling and feel tired when they return to school, so that their studies will be greatly affected.
As a student, I think the first thing I should do is to go over the lessons. Spending two or three hours in going over lessons every weekend will give me great returns. After finishing my schoolwork, I can do many other things, for example, mountain climbing, watching films and skating. In short, if we plan well, we can achieve a bit on weekends. Otherwise, we’ll get nothing.
學(xué)英語作文 篇2
My Loyal Friend
I have a cat. I raised it two years ago. Now she companies me all the time, when my parents are out, I won’t feel lonely. She is my loyal friend, and I can tell my secret to her. Once she is sick and I feel sad, when she is better, I become happy again. The cat is part of my family.
譯文：
我有一只貓，我兩年前養(yǎng)的�，F(xiàn)在她總是陪著我。父母不在家時(shí)，我也不會感到孤獨(dú)。她是我忠實(shí)的朋友，我還可以告訴她我的'秘密。一旦她生病了，我會感到悲傷，當(dāng)她病好了，我就會開心起來。這只貓是我家的一份子。
學(xué)英語作文 篇3
My Summer Trip I went to beijing to play during last summer holiday. I went to Beijing more than eight times. Beijing is the capital of China. It’s a big city. I am very familiar with Beijing. It takes an hour and forty minutes from Nantong to Beijing by plane. There are many tall buildings in Beijing. It’s a modern city. My family visited the Great Wall, the Palace Museum, the Beihai Park, I went to the countryside of Beijing to go boating and fishing. It was very interesting. I went shopping in WangFuJing. I bought lots of souvenirs and other things. I like eating Beijing snacks. They are delicious. Don’t miss the Beijing Duck. It is really nice. The trips helped me open my eyes. I enjoyed my day.
去年暑假我去北京游玩。 我去過那里超過8次，北京是中國的`首都。他是個(gè)大城市。我非常熟悉北京。從南通到北京坐飛機(jī)要花上1個(gè)小時(shí)四十分鐘。北京有很多高的建筑物。他是個(gè)摩登城市。我和家人一起參觀了長城，故宮，北海公園。我還去了北京的鄉(xiāng)村劃船和釣魚。那十分有趣。我愛吃北京小吃，它們非常美味。別忘了還有北京烤鴨。他真的很好吃。 這次旅行讓我大開眼界，我玩得很開心。
學(xué)英語作文 篇4
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5
一天，小花貓看見自己的好朋友都會說英語，他很羨慕。他想：如果我也會英語，我就能用英語和他們交談了。更主要的是20xx年在北京召開奧運(yùn)會時(shí)，主人去北京觀看體育比賽，我就能跟在他身邊，用英語和外國貓交談了，那多過癮哪！
小花貓一向很自信。不是有位名人說過嗎？“自信加本領(lǐng)等于一支戰(zhàn)無不勝的軍隊(duì)”， 小花貓和他的主人一樣，很愛讀書，他記得很多人類的名言警句，尤其是把這一句當(dāng)作了自己的座右銘，所以他想：“我一定會比別人學(xué)得更好！”
小花貓?zhí)氐厝コ匈I了一臺復(fù)讀機(jī)，貓媽媽請來了能講一口流利英語的波斯貓做他的英語老師。第一天，波斯貓老師教他學(xué)26個(gè)英文字母，小花貓很快就全學(xué)會了，還把它們背得滾瓜爛熟。波斯貓老師樂得合不攏嘴，不住地喊：“Good！Good！”波斯貓老師趁熱打鐵，又教小花貓讀“cat”等英語單詞，小花貓也很快就學(xué)會了。這下，小花貓覺得學(xué)英語太容易了，他很得意。
過了幾天，隨著學(xué)過的單詞越來越多，小花貓覺得學(xué)英語太枯燥了，而且那么多的單詞在頭腦中“打架”，讓他煩透了，所以他不想繼續(xù)學(xué)了。貓媽媽見了，很著急，她對小花貓講：“學(xué)習(xí)要有恒心，像你這樣怎么能學(xué)得好呢？你不是讀過這樣一句人類的警句‘鍥而舍之，朽木不折；鍥而不舍，金石可鏤’嗎？”小花貓聽了很受教育。他想：“做什么事都要講方法，有好方法，才能事半功倍，學(xué)英語也不例外，要講方法，才能學(xué)得快�！� 可是有什么好方法呢？小花貓一時(shí)還找不到，他很焦急。
有一天，小花貓走在街上，看到了一條標(biāo)語“小草青青，何忍踐踏”，他不自覺地讀了一遍，回頭走過的'時(shí)候，他又讀了一遍，過了好幾天，他仍舊會想起這句標(biāo)語。于是，他靈機(jī)一動(dòng)，把老師教過的單詞、短語都寫在卡片上，貼在床頭邊、窗子上、衛(wèi)生間里，每天都要把這些單詞、短語讀幾遍，慢慢地他就都會背了，老師夸獎(jiǎng)他學(xué)習(xí)進(jìn)步很快。
從此以后，小花貓學(xué)英語的興趣越來越濃，現(xiàn)在，他已經(jīng)能講一口流利的英語了。你若不信，盡可以上英語角去找他，與他較量較量，只怕你會輸給他喲！
學(xué)英語作文 篇6
Dear David,
I’m glad that you've noticed our efforts directed towards environmental protection. Thank you for your concern. As too much use of plastic bags has caused serious white pollution, our govenment encourages us to use environment-friendly shopping bags. These bags are made of a variety of material that can be easily treated when they become rubbish. Besides, they can be reused. More and more people in China have realized the advantages of such bags and started using them. I believe that the wide use of these shopping bags can greatly improve our environment. This is one of the many steps we are to make our country an even cleaner place.
Yours, Li Hua
親愛的戴維，
我很高興你已經(jīng)注意到我們的努力對環(huán)境保護(hù)的努力。謝謝您的關(guān)心。過多使用塑料袋已經(jīng)造成了嚴(yán)重的白色污染，我們的政府鼓勵(lì)我們使用環(huán)保購物袋。這些塑料袋是由各種材料制成的`，它們可以在垃圾變成垃圾時(shí)容易處理。此外，他們可以重復(fù)使用。在中國，越來越多的人已經(jīng)意識到了這些袋子的優(yōu)點(diǎn)并開始使用它們。我相信這些購物袋的廣泛應(yīng)用可以大大改善我們的環(huán)境。這是我們?yōu)槭刮覀兊膰腋鍧嵉牡胤街弧?/p>
你的，李華
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