學(xué)英語(yǔ)作文

時(shí)間：2024-01-22 09:11:16 英語(yǔ)作文我要投稿

學(xué)英語(yǔ)作文優(yōu)秀（9篇）

　　在學(xué)習(xí)、工作、生活中，大家總少不了接觸作文吧，借助作文人們可以實(shí)現(xiàn)文化交流的目的。作文的注意事項(xiàng)有許多，你確定會(huì)寫嗎？下面是小編為大家收集的學(xué)英語(yǔ)作文9篇，歡迎大家分享。

學(xué)英語(yǔ)作文優(yōu)秀（9篇）

學(xué)英語(yǔ)作文篇1

　　This is a supermarket .It is big and new. Its name is Wanjia .You can buy many things in the supermarket .

　　You can buy food like milk,bread ,vegetables,chocolate…… ,You can buy school things like books,rubber,pencil……,You can buy clothes　like shorts,trousers,shirt.you can buy cupboard,computer,robot,fun,desk,too.

　　This is a big　supermarket ,It is open for 12 hours a day. There are many people here. The shop worker is very hard working. They always ready to people .

　　I like going here.

學(xué)英語(yǔ)作文篇2

　　Our dormitory has four members. Besides me, there are Old Zhao, Young Zhao and Lily. As college students, our experiences are similar, and right now, we are all students of Law School. But in terms of character, we are totally different from each other.

　　Old Zhao is our common sister. She is very kind and considerate. She takes full responsibility of our dormitory. If sorne of us catch a cold, she will take good care of her. Whenever we are in trouble, we turn to her.

　　Young Zhao is a quiet girl. If there is a chat among us, she is always the one who says little but listens attentively. She has the admirable ability to do well in all kinds of examinations. We all agree that she is the example that we should learn from in studies.

　　Lily is just the opposite of Young Zhao. She is very talkative. We enjoy her cornpany because she has the sense of humor, which rnakes her talk extremely interesting. Where there is Lily, there is laughter.

　　Such are my three roommates. In spite of our different characters, we get on well with each other. Our dormitory has become our common home.

學(xué)英語(yǔ)作文篇3

　　I am nine years old. My name is Mary. I am from China. There are three people in my family. They are my father, my mother and I. But my mother said to me,” you are going to have a sister.” I am very happy to have a sister to play with me. But I am also afraid my parents won’t love me so much. It is my trouble.

　　我九歲了，我叫瑪麗。我來(lái)自中國(guó)。我家有三口人。我的爸爸，媽媽還有我。不過我媽媽跟我說(shuō)，“我準(zhǔn)備有妹妹了”。我很開心可以有個(gè)妹妹陪我玩�？墒俏乙埠煤ε挛业�'爸爸媽媽再也沒有那么愛我了。這就是我的煩惱。

學(xué)英語(yǔ)作文篇4

　　In my room, there stands a small bookcase near the window.The bookcase has three layers.I put the thickest books on the upper layer. On the middle layer there is my table lamp. And I place all the story books and some magazines on the lower layer.I read a lot, and I have learnt a lot from my books.I love the bookcase and I love books even more.在我房間的窗戶邊上，有一個(gè)小巧的書柜。書柜分三層，我把最厚的書放在最上層。中間那一層放著我的`臺(tái)燈，我把所有的故事書和雜志放在最底層。我經(jīng)常讀書，而且受益頗多。我愛書柜，但我更愛書。

學(xué)英語(yǔ)作文篇5

　　It was Children's Day last Monday. Today, we went to the English corner and shared with our American friend, Jim, how we celebrated our Children's Day this year.

　　Lucy（林靖怡） went to a park with her friends, because she loves outdoor activities. Robin（趙民駿） did not go out on that day, but he was given extra time playing computer games and he received a lovely toy from his parents. Wow, not bad at all!

　　As for me, I told Jim that I went to the Mixc City(南寧萬(wàn)象城) with my friends. We had really good time there, skiing, eating hamburgers and drinking coffee. To our surprise, I also ran across some other friends, they seemed to have a lot of fun too.

　　Jim told us when he was young, people did not celebrate Children's Day in America. Luckily, children in America now can have their Children's Day, it is on June 3rd each year. On this day, children in some parts of America may go to churches, have funny games or even a picnic.

　　We also talked about Children's day in other countries, such as Singapore and New Zealand. In Auckland this year, they had a fun fair on the ASB Show-grounds for children. Entries were free. What’s more, children could have free candy floss and face painting was free too. They could watch live performances, ride on ponies, try the racing cars and other fun games. How fun!

　　I told Jim that I liked ferry wheels the best. I think it is especially exciting. Then I added, “I wish I were there in Auckland.”

　　"Oh, I wish I were there, too."Jim smiled and said.

　　My dear friends, what about you?

學(xué)英語(yǔ)作文篇6

　　I have a good mother. Her name is Tang Xiaolan.

　　She has gold and long hair. Her eyes are black, big and round. Her mouth is big. She is short. She often wears a pink dress. She is 37 years old, but she looks young.

　　My mother is good at business. She is a successful woman. When she works, she forgets the time. We love her and she loves us, too. And she makes our house clean and tidy everyday. She loves our family.

　　My mother works in a clothing factory and she is the boss. She is very busy. Every morning, she gets up very early. Then she goes to work by car. She begins to work at 8:00. She has lunch in the factory at 12:00. After lunch, she has a short rest and then continues working again. She comes back home at 6:00 in the afternoon. In the evening, she sometimes watches TV.

　　My mother is a hard-working woman, and I’m very proud of her. Thanks, mum! I’ll study hard to repay your love for me.

學(xué)英語(yǔ)作文篇7

　　Application Form

　　Family name: Wang First name: Xiaoming

　　Date of Birth: August 20, 1975 Nationality: Chinese

　　Sex: Male Telephone number: 020-61006571

　　Address: 710 Zhongshan Road, Guangzhou City

　　Please write about your educational background and work experience, the university and the major you want to apply and the information you want to know. (about 50 words)

　　I graduated from Beijing Normal University,. And I am currently an English teacher at Guangzbou University. I request admission into the Department of English Language and Literature at your University. It is my long-time desire to pursue comparative study of Chinese and Western literature. And I shall appreciate it if I can get more

　　information about the financial aid.

　　【難點(diǎn)分析】

　　本文要求填寫一份出國(guó)留學(xué)申請(qǐng)表格。前半部分比較簡(jiǎn)單，只要將題目中的信息一一對(duì)應(yīng)地翻譯出來(lái)即可。難點(diǎn)在于對(duì)教育背景、個(gè)人工作經(jīng)歷以及所需要進(jìn)一步獲取的信息的寫作。對(duì)此，考生可以按照自己的真實(shí)情況來(lái)寫，也可以虛構(gòu)．但是注意必須包含文章所要求的要點(diǎn)。對(duì)于這一部分的寫作，考生要盡量使用簡(jiǎn)單句和自己熟悉的.表達(dá)方式，同時(shí)要有適當(dāng)?shù)木涫阶兓?/p>

學(xué)英語(yǔ)作文篇8

　　Can Computers Replace Teachers in English Teaching?

　　1. 計(jì)算機(jī)及多媒體技術(shù)在大學(xué)英語(yǔ)課堂上使用越來(lái)越廣泛。

　　2. 老師和計(jì)算機(jī)相比的好處。

　　3. 計(jì)算機(jī)是否能在將來(lái)取代老師?為什么?

　　Nowadays computer-aided instruction is getting more and more popular on the campus throughout the world, especially in teaching English. More and more students tend to learn English independently with the help of multimedia learning software. They claim that they have more freedom of learning whatever they like at their own pace, with both ease and care. Whats more, computer-aided instruction is an original way of learning, which can arouse students interest.

　　However some people believe that teachers can better help students learn knowledge and acquire skills. They argue that, for one thing, students cannot talk to machines. It goes without saying that to learn English better, students should talk to teachers and get in touch with them. For another, computers cannot supervise students, thus some students spend the precious time not on English, but on net chatting or browsing porn websites.

　　As far as I am concerned, computers cannot replace teachers in English teaching because students need to contact human beings, not

　　machines. At the same time, they should try their best to gain more from computer-assisted programs. By combining the two methods, students can learn English better.

學(xué)英語(yǔ)作文篇9

　　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.

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