學(xué)英語(yǔ)作文集錦9篇
在平日的學(xué)習(xí)、工作和生活里，大家都不可避免地會(huì)接觸到作文吧，作文是從內(nèi)部言語(yǔ)向外部言語(yǔ)的過(guò)渡，即從經(jīng)過(guò)壓縮的簡(jiǎn)要的、自己能明白的語(yǔ)言，向開(kāi)展的、具有規(guī)范語(yǔ)法結(jié)構(gòu)的、能為他人所理解的外部語(yǔ)言形式的轉(zhuǎn)化。相信寫作文是一個(gè)讓許多人都頭痛的問(wèn)題，以下是小編為大家整理的學(xué)英語(yǔ)作文9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(yǔ)作文 篇1
everything (he kept saying) is something it isnt. and everybody is always somewhere else. maybe it was the city, being in the city, that made him feel how queer everything was and that it was something else. maybe (he kept thinking) it was the names of the things. the names were te and frequently koid. or they were fle and oid or they were duroid (sand) or flesan (duro), but everything was glass (but not quite glass) and the thing that you touched (the surface, washable, crease-resistant) was rubber, only it wasnt quite rubber and you didnt quite touch it but almost. the wall, which was glass but turned out on being approached not to be a wall, it was something else, it was an opening or doorway--and the doorway (through which he saw himself approaching) turned out to be something else, it was a wall. and what he had eaten not having agreed with him.
he was in a washable house, but he wasnt sure. now about those rats, he kept saying to himself. he meant the rats that the professor had driven crazy by forcing them to deal with problems which were beyond the scope of rats, the insoluble problems. he meant the rats that had been trained to jump at the square card with the circle in the middle, and the card (because it was something it wasnt) would give way and let the rat into a place where the food was, but then one day it would be a trick played on the rat, and the card would be changed, and the rat would jump but the card wouldnt give way, and it was an impossible situation (for a rat) and the rat would go insane and into its eyes would come the unspeakably bright imploring look of the frustrated, and after the convulsions were over and the frantic racing around, then the passive stage would set in and the willingness to let anything be done to it, even if it was something else.
he didnt know which door (or wall) or opening in the house to jump at, to get through, because one was an opening that wasnt a door (it was a void, or kid) and the other was a wall that wasnt an opening, it was a sanitary cupboard of the same color. he caught a glimpse of his eyes staring into his eyes, in the and in them was the epression he had seen in the picture of the rats--weary after convulsions and the frantic racing around, when they were willing and did not mind having anything done to them. more and more (he kept saying) i am confronted by a problem which is incapable of solution (for this time even if he chose the right door, there would be no food behind it) and that is what madness is, and things seeming different from what they are. he heard, in the house where he was, in the city to which he had gone (as toward a door which might, or might not, give way), a noise--not a loud noise but more of a low prefabricated humming. it came from a place in the base of the wall (or stat) where the flue carrying the filterable air was, and not far from the minipiano, which was made of the same material nailbrushes are made of, and which was under the stairs. this, too, has been tested, she said, pointing, but not at it, and found viable. it wasnt a loud noise, he kept thinking, sorry that he had seen his eyes, even though it was through his own eyes that he had seen them.
學(xué)英語(yǔ)作文 篇2
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(yǔ)作文 篇3
Graduated from primary school immediately. I am about to graduate as one of the primary, the primary six years of life is very emotional, I have studied the application of knowledge. Elementary school learning and training of my life.
I very much hope that on their own preferences The junior high school, for their own future to do a good intention. I will miss learning with teachers and students, will continue to strive to learn.
學(xué)英語(yǔ)作文 篇4
今天，我第一次學(xué)英語(yǔ)，心里很興奮。到了英語(yǔ)老師家，老師先教我們讀英語(yǔ)單詞卡片，老師讀一個(gè)單詞我們跟讀一個(gè)單詞。接著老師把課本翻到第一頁(yè)，教我們讀圖文并茂的課文，我們很認(rèn)真，內(nèi)容掌握得也很快。過(guò)了一會(huì)兒，老師又給我們玩猜牌的游戲，我覺(jué)得很有意思，所以我學(xué)習(xí)很投入，猜得也很準(zhǔn)，最后測(cè)試結(jié)果我比另一個(gè)同學(xué)多一分。
很快，我的`第一堂英語(yǔ)學(xué)習(xí)課結(jié)束了，我依依不舍地走在回家的路上，還在津津回味剛才學(xué)英語(yǔ)的情景……
學(xué)英語(yǔ)作文 篇5
Environmental Protection
No one，regardless of race, religion or nationality, can deny that the world we live in is becoming increasingly intolerable because of the effects of global warming. According to many experts, even greater impacts are still on the way.
There are numerous causes for this problem. On one hand, human-related emissions of carbon into the atmosphere is causing, and will in the future cause, significant global warming according to the theory. On the other hand, the lack of knowledge about the importance of protecting environment hinders the solving of the problem.
It is urgent that immediate and effective actions should be taken right away. First, more trees need to be planted to help improve and beautify the environment. Besides, stricter laws concerning global warming and irresponsible use of fuel resources have to be put into effect and achieved good results. In a word, there is a long way to go before we can take a comfortable world for granted again .
學(xué)英語(yǔ)作文 篇6
Recently, some cities are considering 主題詞, which has raised people's concern.
Some people say that 觀點(diǎn)一. And 繼續(xù)闡述觀點(diǎn)一. For example, 此處可舉一個(gè)常見(jiàn)的`例子，更具有說(shuō)服力. However, some others are opposed to the idea. They argue that 觀點(diǎn)二. Besides, there are 繼續(xù)闡述觀點(diǎn)二 , for example, 舉與觀點(diǎn)二相關(guān)的例子.
As far as I am concerned, I'm against the 不贊同的觀點(diǎn). because 原因, and 原因. I believe we should 做法. I think we all have responsibility to....
學(xué)英語(yǔ)作文 篇7
Show me
Hello，everyday ! My name is li Xiang Lan. I am a sunny girl. I am from Zhangye. I am 12 years old. My teacher say I am a clever and lovely girl.
I like English very much, and I like singing, too. I go to school five days every week. My school is not far from my home, and it is a nice school. There are 28 teachers and 384 students in my school. There are 14 classes in my school. My Chinese teacher is tall, my English teacher is tall, too. I love them a lot. Welcome to my school.
Do you want to be my friend? Please write to me. My E-mail is lzyzcjl@163.com.
學(xué)英語(yǔ)作文 篇8
清晨的火爐早已被柴火燒的噼里啪啦地響，阿姨們?cè)谠钆_(tái)上翻炒著那一系列的美味佳肴，煙氣很快彌漫了整個(gè)灶房，嗆得我直咳嗽。
The early morning stove had already been crackling with firewood. Aunts were frying a series of delicious dishes on the stove. The smoke soon filled the whole kitchen and made me cough.
走出門外，漫山遍野的蕭條，就像一幅單調(diào)的素描，鋪天蓋地撒滿了整個(gè)世界。可即使是這樣的冬日，對(duì)于孩子們來(lái)說(shuō)依然有無(wú)限趣味。運(yùn)氣好的時(shí)候爸爸還能從石頭山上抓到一兩只野兔。小時(shí)候，我們趴在窗臺(tái)上，看著那只兔子臨死前的撲騰，心中不知是激動(dòng)還是惋惜。更多的時(shí)候，我們都會(huì)玩弄那兩塊錢一盒的擦炮：一用力擦盒子的邊緣，就趕緊向那山里的小洞洞一扔。只聽(tīng)到那“啪”的一聲，山坡上只留下了一個(gè)不大不小的黑乎乎的土坑。家家戶戶響著此起彼伏的擦炮聲，雖聲響不算大，卻在忙碌中譜出了一陣歡樂(lè)的樂(lè)曲。
Out of the door, the depression is like a monotonous sketch, spreading all over the world. But even if it is such a winter, there is still infinite interest for children. When he is lucky, Dad can catch one or two rabbits from the stone mountain. When we were young, we were lying on the windowsill, looking at the rabbit#39;s fluttering before it died. We didn#39;t know whether we were excited or sorry. More often, we will play with the two yuan a box of cleaning guns: as soon as we wipe the edge of the box, we will quickly throw it at the small hole in the mountain. Only the sound of "pa" was heard, and only a small black pit was left on the hillside. Every household is ringing with the sound of rubbing artillery. Although the sound is not loud, it makes a happy music in the busy.
每到傍晚，年味逐漸濃起來(lái)，各家的炊煙從屋檐一點(diǎn)點(diǎn)地升了起來(lái)，筆直地，到了一定的高度便漸漸消散了。那綿長(zhǎng)的呼喊聲在那樣歡樂(lè)的夜里，顯得特別可愛(ài)。原來(lái)是年邁的婆婆在門口呼喊著在田間嬉戲玩耍的孫子回家吃飯了！于是，三兩個(gè)孩子跑回來(lái)了，腳不安分地踢來(lái)踢去。等待著那一系列的山珍野味。臘排骨是必不可少的，一端上桌，孩子都跳了起來(lái)，舀起大塊的骨頭，滋溜滋溜吸著那暖烘烘的`湯。孩子們都忘乎所以的吃著喝著，不亦樂(lè)乎。直到飯碗見(jiàn)底，一抹嘴，拿起鞭炮，飛快達(dá)竄到外面去了。
Every evening, the smell of the year gradually thickens, and the cooking smoke of each family rises from the eaves, straightly, and gradually dissipates at a certain height. The long cry was so lovely on such a happy night. It turned out that the elderly mother-in-law was shouting at the door that the grandson who was playing in the field had gone home to eat! So three or two children came back and kicked around restlessly. Waiting for a series of mountain delicacies. The spareribs are indispensable. When they are on the table at one end, the children jump up and scoop up large pieces of bones. Ziliuziliu sucks the warm soup. The children are all eating and drinking in a trance. Until the bottom of the job, wipe your mouth, take up the firecrackers, and fly to the outside.
不一會(huì)兒，地上充滿著煙火，天上也綻放著光彩。這是一天中最歡騰熱鬧的時(shí)刻，歡笑過(guò)后一天的年味兒也迎來(lái)了尾聲。
Soon, the ground was full of fireworks, and the sky was shining. This is the most exuberant and lively time of the day, and the new year#39;s taste of the day after the laughter also ushered in the end.
現(xiàn)在，我家的年味早已沒(méi)有那歡樂(lè)的氣氛，但是這味道，永藏我的心頭。
Now, my family#39;s new year flavor has no such happy atmosphere, but this flavor is always hidden in my heart.
學(xué)英語(yǔ)作文 篇9
Though there are all kinds of commercial ads to advocate girls to make up and make themselves look as beautiful as the models, most girls are educated that the real beauty is from inside instead of outside. So some of them are very proud of not making up and staying the way they are, but the new idea is that make up is a manner.
In the traditional view, make up is not a good girl will do, only for the bad girl who tries to seduce a man. What’s more, parents implant the idea to the girls that make up will make them look older. So most girls have the wrong idea about make up, some even feel shameful to talk about it.
Actually, in the modern society, make up is just a way of manner. But, the make up we talk about is light type. We need to shape our eyebrow and color our lips with light color, which makes us look tidy. Hair is also needed to clear up and the clothes we wear should be adjusted by different occasions.
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