[熱門]實用的學(xué)英語作文

　　在平平淡淡的日常中，許多人都寫過作文吧，借助作文可以提高我們的語言組織能力。一篇什么樣的作文才能稱之為優(yōu)秀作文呢？下面是小編為大家整理的學(xué)英語作文9篇，供大家參考借鑒，希望可以幫助到有需要的朋友。

學(xué)英語作文 篇1

　　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2

　　Everybody has his or her own dream. Without a dream, people would feel void, lose the motivation of fighting, and be obsolete little by little. Some people want to be milliners while others want to be scientists, doctors, and teachers. For me, I have different dreams at the different stages of my life.

　　When I was a child, I want to have lot of money, because I want to have many toys. If I have a lot of money, I can buy the factory which makes toys then I can have enough toys to play.

　　However, my dream changed as I growing up. At the stages of senior school and middle school, I hope I can have enough time to play but not to do so much homework. At these two stages, I was compelled to stay at classroom for most of my days; what’s more, I have to do a mass of homework after school. So at that time, I thirst for freedom.

　　For the present stage, I hope I can improve my English level and pass the CET6. English is always the inferior subject during my college. Now as a graduate student, I hope I can learn English well with the help of my teacher. Please wish my dream come true!

學(xué)英語作文 篇3

　　I've been looking forward to the new year. Our new year really busy, we all got some people bursting with happiness, some people with color dragon lion, and stuck on the door of every family dog...... all the red antithetical couplet hung lanterns, a riot of colours, is really very beautiful.

　　Lunch, the courtyard is beginning to liven up, everyone started the fireworks, I ran home to get the fireworks out, my friends also get back the fireworks, I carefully took out a "earth bloom" lit the fuse. After a moment out from Mars, the blink of an eye in the sky in the open flower of bright flowers. This flower around a red, a green, we look like to dazzle the eyes, full of flowers. "Good - looking!" It's nice! " The neighbor's little sister jumped up, too.

　　I lit the "hundred words in". The more short the lead line, the higher the number of Mars. The spark, like a splash in the furnace, is like a beautiful fountain in the park, splashing around. At this time, a few magic bombs were sprayed up in the far half of the sky, just like signals on the battlefield, for a while, the red ones sprayed out later, and the green ones in a short time illuminated the sky like daylight.

學(xué)英語作文 篇4

　　My mother is a beautiful woman.And she is very nice.She is very tall.And she has a brown hairs.She's a worker.She is very hard.My mother like fruits.She bought lots of delicious food ahd stationery.She was very concerned about my study.I love my mother!How about you?

學(xué)英語作文 篇5

　　Life is hard. We should not give up hope. By the time we have given up, we are finished. Chances are always there. We have to grab every single opportunity...to help, to love and to serve. To live our life happier, full of joy, we have to set our goal and even dream big. If we choose the shortest path in life, we will never learn. To be or not to be, we have to be SOMEBODY. The fastest way to gain love is to love others first!Do not hide your talent, your knowledge and your beautiful heart. Go for your dream and live for it.

　　生活是困難的。我們不應(yīng)該放棄希望。我們已經(jīng)放棄的時候,我們完成了。機(jī)會總是存在的。我們必須抓住每一個機(jī)會…幫助,愛和服務(wù)。住我們的'生活更快樂,充滿了快樂,我們必須設(shè)定我們的目標(biāo),甚至夢想。如果我們選擇生活的最短路徑,我們將永遠(yuǎn)學(xué)不會。是或不是,我們必須有人。獲得愛的最快途徑是先愛別人!不要隱藏你的才華,你的知識和你的美麗的心。去你的夢想和生活。

學(xué)英語作文 篇6

　　The policy of Belt and Road has been the hot topic in the year of 20xx, and many foreign countries have joined this plan. For the foreign students, they become more interested in Chinese and learn the culture, at the same time, Chinese students have faced the opportunity and challenge.

　　“一帶一路”政策已經(jīng)成為20xx年的熱門話題，許多外國國家都加入了這個計劃。對于外國學(xué)生來說，他們對中國更加感興趣，也學(xué)習(xí)了一些文化，與此同時，中國學(xué)生也面臨著機(jī)遇和挑戰(zhàn)。

　　This great policy provides the chance to do business between countries, so it is important to master the international language—English. Though many Chinese students have learned it for a long time, they can’t use it fluently because of the lack of chance to communicate with local people.

　　這個偉大的政策為國與國之間提供了商業(yè)機(jī)會，因此，掌握國際語言——英語是很重要的。雖然很多中國學(xué)生學(xué)習(xí)英語很長時間了，但是，由于缺乏與當(dāng)?shù)厝私涣鞯?機(jī)會，他們都無法把英語說得流利。

　　At the same time, culture is the inevitable part during making connection with another countries, so it is important to learn the culture. For the students who want to work on the International company, they need to improve their language ability and the ability to make connection with foreigners.

　　與此同時，文化在與別國打交道的過程中是不可避免的一部分，因此學(xué)習(xí)文化是很重要的。那些想在國際公司工作的學(xué)生，他們需要提高語言能力，學(xué)會與外國人打交道。

　　The policy of Belt and Road have won praise from people all around the world. They are expecting to seek for cooperation. In the future, more business chances will come. If you are ready for it, you will be ahead of others.

　　“一帶一路”政策贏得了來自世界各地的人的贊揚(yáng)，他們希望尋求合作。未來一定會有越來越多的商機(jī)。如果你做好充分準(zhǔn)備的話，你就可以領(lǐng)先他人。

學(xué)英語作文 篇7

　　今天我有忍不住地問自己，我的夢想呢？

　　Today, I can't help asking myself, what about my dream?

　　我想要不是看了“魯豫有約”，要不是那兩位為了自己的夢想而不斷奮斗的農(nóng)民達(dá)芬奇，要不是他們對夢想執(zhí)著甚至是外人看來有點“癡狂”的追求，我很可能都忘記原來自己曾經(jīng)也有過夢想。

　　I want not to see the "Lu Yu about", if not the two struggle for their own dreams of the farmer Da Vinci, but for their dedication to the dream even outsiders is "Crazy" to pursue, I might have forgotten their original ever dream.

　　但是因為自己沒有像他們一樣堅持，不如他們“癡狂”，所以我只是今天的我，我過去的夢想只能成為夢而已。

　　But because they did not adhere to like them, as they are "Crazy", so I just am today, I dream of the past can only be a dream.

　　是什么讓我忘記了自己的夢想？是什么讓我把夢想深深地埋藏在一個我再也不想駐足的地方？是什么讓我不再為自己的夢想而抬起奔跑的腳步？是什么？懦夫說：是殘酷的現(xiàn)實。

　　What made me forget my dream? What made me bury my dream in a place I never wanted to stop? What makes me stop running for my dream? What is it? Coward says, "cruel reality.".

　　我的夢想呢？我記得我曾經(jīng)確實有夢想，很多的`夢想。但是為什么現(xiàn)在我竟一個也想不起來呢？真的想不起來嗎？真的？懦夫安慰道：沒關(guān)系。忘記了更好。做人還是現(xiàn)實點兒好。

　　What about my dreams? I remember I did have dreams, lots of dreams. But why can't I think of it now? Can't you really remember? Really? Coward consoled: "never mind.". Better forget. It's better to be a man.

　　我應(yīng)該是有夢想的。我需要夢想。懦夫說：現(xiàn)在夢想解決不了面包問題。

　　I should have a dream. I need dreams. Coward said: "now the dream can not solve the bread problem.".

　　懦夫！我是個懦夫！總是為自己的過失和懦弱尋找各種各樣的借口。如果借口能賣錢的話，我想我定能夠成為百萬富翁。

　　Coward！ I'm a coward! He always finds excuses for his faults and cowardice. If an excuse can be sold, I think I can become a millionaire.

　　“我唔可以接受咯”。的確，我不可以接受一個沒有夢想沒有激情的自己。既然有這么多“唔可以接受”的事情，為什么我就不嘗試去改變呢？既然現(xiàn)在對夢想還是有“感覺”，還沒有完全麻木的，為什么我就滿于現(xiàn)狀每天安坐家中呢？為什么雙手有力，卻不好好把握這珍貴的青春呢？

　　"I can't accept it."". Indeed, I can't accept myself without dreams or passions. Since there are so many "don't accept" things, why don't I try to change? Now that I still have a "feeling" about dreams, I'm not completely numb. Why do I live in the present situation and sit at home every day? Why both hands powerful, but do not take advantage of this precious youth?

　　成功與否，這并不重要。起碼，我能告訴自己，我不是懦夫！

　　Success or not, that's not important. At least, I can tell myself, I'm not a coward!

學(xué)英語作文 篇8

　　Today I will talk about the college life to you as a senior student！there will be a new experience that tolly different from the previous as the moment you enter the college ！

　　the different city ，the different teacher，the new classmate and friend-all in all ，you will experience a brand new college life！now ，i wil introduce the college life to you from the two aspects-the study and the daily life based on my two years' college life the first ，you must remenber is that wherever you're ,you are a student still，so the study is the most important things for you ！as you begin your learning you will find that the college' study will tolly be different from the previous，in the university there is only a few classes everyday，and the rest time will left to your own ，so you must arrange your time reasonable everyday，there must be some time to study yourself！so you must be good at learning on your own for that the teacher will not always by our side，so you need to learn to refer to the library ，where you will find almost everything you need，for another you can send mail or call to teachers！

　　you can also discuss with your classmates or surf it on the internet！what's more ，in the university you should not only study your major well but also you should read in other knowledges that beyond your own major . next ，i will talk about the daily life with you ，and i will start it with the erpersonal interaction！as you know ，there will much free time now and the dormitory living will occupies a large proportion，so you should learn to be good terms with your roommates .actually，No one can be good terms with others unless he gives up a little of his own freedom，that is to say ，you should learn to deal with anyone that you know，for they may generouly aid you at some time，and deal with good with others will provide you a good experience for there will much joyous and convenients presented to you！besides ，you can take part in some activeties or join in one part of the Students' Union as you want，for the college is the stage from school to society，you should learn how to via it to interact with others! here ，i have hardlly presented all the things that i suggest！ i hope they will help you and wish you adapt to the college life early ！

　　at last ，i want to say ，under no circumstances don't let an egg ruined your new impulse in life and always be great passion with life ，then you will expirence a wonderful college life！

學(xué)英語作文 篇9

　　he vacation time is always fleeting, the school day is absolutely sudden.

　　Now, I have been sitting in the classroom of high nine classes have meet some old classmates, but we just say hello to smile, time, time is a thief, when we found that the time has stole our talk about.

　　Everything in the new class is new, the students are new, the teacher is new, and I have been updated. I used to read novels in class, sleep in class, pick up the teacher, give the teacher a change, don't go home after school, go to my "brother" to fight, to drink, to sing... At that time, I was a child, but I realized that there is no end, there is no way out, I gradually realized that learning, in high school, college is a student should have the goal! Then, I changed, in the beginning of the day, with the change of time.

　　Now I am in the high school classroom, the classmate does not know, the teacher is not familiar, never mind, time will tell the person who wants to know to want the answer!

　　假期的時間從來都是轉(zhuǎn)瞬即逝的，開學(xué)的日子絕對是突如其來的。

　　如今，我已經(jīng)坐在了高一九班的教室里，有認(rèn)識的幾個老同學(xué)，但我們只是打聲招呼微笑一下，時間啊，時間真是賊啊，當(dāng)我們發(fā)現(xiàn)的時候，時間已經(jīng)把我們的'說不完的話偷走了。

　　新的班級體里什么都是新的，同學(xué)是新的，老師是新的，我呢，也已經(jīng)更新了。以前的我，上課看小說，上課睡覺，接老師話茬，給老師找事，放學(xué)后不回家，去找我那幫“兄弟”一起去打架，去喝酒，去唱歌……那時，我就是一個混子，可是，我意識到了這樣是沒有盡頭的，沒有出路的，我漸漸意識到了，學(xué)習(xí)，上高中，上大學(xué)才是一個學(xué)生的應(yīng)有的目標(biāo)！于是，我改變了，在開學(xué)的日子里，跟著時間改變。

　　現(xiàn)在我在高一的教室里，同學(xué)不認(rèn)識，老師不熟悉，沒關(guān)系，時間會告訴想知道的人想要的答案！

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