有關(guān)學(xué)英語作文匯編8篇
在日復(fù)一日的學(xué)習(xí)、工作或生活中，大家對(duì)作文都再熟悉不過了吧，作文要求篇章結(jié)構(gòu)完整，一定要避免無結(jié)尾作文的出現(xiàn)。那要怎么寫好作文呢？以下是小編精心整理的學(xué)英語作文8篇，歡迎閱讀，希望大家能夠喜歡。
學(xué)英語作文 篇1
My favourite fruit is apples.Big apples are very sweet,but small appies are sour.They're sweet and tasty.My favourite apples are red and big.They are healthy and good for me.I don't like grapes. They're sour.
Do you like my favourite fruit? What about you ?
【參考翻譯】
我最喜歡的水果是蘋果。大蘋果很甜,但小的`確是酸的。他們很甜,很好吃。我最喜歡的蘋果又紅又大。他們是健康的,對(duì)我身體好。我不喜歡葡萄。他們是酸的。
你喜歡我最喜歡的水果嗎？你呢？
學(xué)英語作文 篇2
I have a wonderful dream in my heart. It's to speak English very well. Since English is everything for me. English is my best friend. English is my soul. English is my power. Without English, I'm nothing at all. Nothing. Now, I can think in English, speak in English, and write in English. Some people think I'm an Indian. Some people regard I'm a Pakistan. And some people even consider that I'm an Egyptian. But if I could speak English as good as an American, my future would be brilliant. So I work very hard.
在我心中有一個(gè)美麗的夢想。那就是說一口流利的'英語。因?yàn)閷?duì)我來說英語就是我的一切。英語是我的朋友。英語是我的靈魂。英語給予我力量。沒有英語，我什么都沒有。什么都沒有�，F(xiàn)在，我可以用英語的方式思考，用英語說話，用英語書寫。有些人以為我是印第安人。有些人以為我是巴基斯坦人。有些人甚至認(rèn)為我是埃及人。但如果我能說英語能像美國人說的那么好，我的未來會(huì)很美好。所以我很努力學(xué)習(xí)。
學(xué)英語作文 篇3
When I was two years old , my father bought two little turtles for me. I was very happy . Now they are eight years old. Their names are Apple and Watermelon.
Look at them , they have small eyes and beautiful shells .They also have small tails. They live in the balcony .They like to eat small living fishes. So every Sunday I buy a lot small living fishes for them. They play and walk together every day.
My turtles are lovely and clever. I love them. They are my good friends forever! Do you like them? I think you like them too. Welcome to my home to play with them.
學(xué)英語作文 篇4
My family
There are four people in my family, my father, my mother, my sister and me. My father likes reading. My mother likes cooking. They both work in Leliu. They always go to work by car. They work hard.
My sister and I are pupils. I study in the primary school affiliated with Shunde No.1 Middle School. My hobby is collecting coins. My sister studies in Xishan Primary School. She likes watching TV. We love our family very much.
【參考翻譯】
我的'家里有四口人，我的爸爸，媽媽，姐姐和我。我父親喜歡讀書。我媽媽喜歡烹飪。他們都在樂柳工作。他們總是坐車上班。他們努力工作。
我和妹妹是小學(xué)生。我學(xué)習(xí)在小學(xué)隸屬于佛山市順德區(qū)第一中學(xué)。我的愛好是收集硬幣。姐姐在西山小學(xué)學(xué)習(xí)。她喜歡看電視。我們愛我們的家庭非常多。
學(xué)英語作文 篇5
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6
Money is indeed important, but money cannot buy everything. A miser may think that “money talks,” but if you only give your attention to making money, you may lose many things, such as health, friendship and love.
I don＇t think we should regard money as everything. Money is just a tool that can help us solve problems or enable us to live a comfortable life.
What we should do is to use it appropriately and not become misers. This way, all of us can lead a happier lives.
學(xué)英語作文 篇7
尊重生命，敬畏自然!我們只是大自然普通并且平凡的兒女，而自然卻是我們賴以生存的母親。違背自然的法則只會(huì)引火燒身，最終遍體鱗傷。這是大自然給我們的教訓(xùn)與警告。
Respect life and nature! We are just ordinary and ordinary children of nature, and nature is our mother. Disobeying the laws of nature will only lead to fire, and eventually all over the body. This is a lesson and warning from nature.
心存敬意，，身赴一線的鐘南山醫(yī)生，積極響應(yīng)國家感召的李蘭娟院士，他們是肩負(fù)使命的戰(zhàn)士，他們是以戰(zhàn)“疫”為己任的勇土，他們是疫情中的逆行者，更是我們學(xué)習(xí)的榜樣。
With great respect, Dr. Zhong Nanshan, who went to the front line, and Academician Li Lanjuan, who actively responded to the call of the state, are soldiers who shoulder the mission. They are brave soil who take the war "epidemic" as their duty. They are the counterforces in the epidemic situation, and they are also the model we learn from.
用心銘記，學(xué)會(huì)深愛!疫情之下更見人心溫暖，社會(huì)各界人士用行動(dòng)譜寫了眾人戰(zhàn)“疫”的決心。火神山與雷神山醫(yī)院的'建設(shè)便是愛與付出最好的證明。
Bear in mind and learn to love deeply! Under the epidemic situation, people from all walks of life are more warm. People from all walks of life have made up their determination to fight the epidemic. The construction of huoshenshan and leishenshan hospital is the best proof of love and devotion.
作為學(xué)生的我們，堅(jiān)守戰(zhàn)“疫”后方，當(dāng)加強(qiáng)自我管理，合理安排時(shí)間,形成健康的生活與學(xué)習(xí)習(xí)慣。從關(guān)愛小家做起，努力學(xué)習(xí)，成為一個(gè)善良、正直、敢勇、堅(jiān)強(qiáng)、關(guān)心社會(huì)、熱愛祖國的人。
As students, we should stick to the rear of "epidemic", strengthen self-management, arrange time reasonably, and form healthy living and learning habits. We should start from caring for our family, study hard, and become a kind, honest, brave, strong, caring and loving person.
春的生命，剛強(qiáng)，疫病的陰霾只能暫時(shí)遮擋太陽的光芒，永遠(yuǎn)阻擋不了生命成長的勁頭!
Spring's life, strong, the haze of disease can only temporarily block the sun's light, never stop the momentum of life growth!
學(xué)英語作文 篇8
As can be seen from the chart that money value of annual global electronic transactions id increasing gradually in the seven years. In 1997, the money value of global electronic commerce transactions is US$ 2.6 billion, while the number reaches US$1000 billion, 500 times that of 1997. why is electronic commerce booming nowadays?
從圖表可以看出，在這七年內(nèi)每年全球電子交易貨幣價(jià)值逐漸增加。1997年，全球電子商務(wù)交易貨幣價(jià)值是26億美元，然而這個(gè)數(shù)字達(dá)到1萬億美元時(shí)是1997年的500倍。為什么現(xiàn)在電子商務(wù)如此的蓬勃發(fā)展?
Several factors contribute to this phenomenon. First, the availability of computer is the foremost cause. The rapid development of computer technology enables everybody to have access to computer and Internet. Internet now no more a stranger to common people. Second, the technology of Internet is becoming more and more mature. People, who at first do not trust business transactions on Internet, now become convinced that doing business on Internet is very convenient and effective. Thirdly, electronic commerce is the fastest way so far to make transactions across far distance. It makes it possible to do business at home and it saves time and unnecessary formalities as well. That is why electronic commerce is preferable to the prosperity of world economy and it also give birth to SOHO, a special group of people working at home. The trend towards a promising e-commerce is inevitable. Therefore let's get prepared to embrace this irretrievable trend.
有幾個(gè)因素導(dǎo)致了這種現(xiàn)象。首先,計(jì)算機(jī)的可用性是最重要的`原因。計(jì)算機(jī)技術(shù)的高速發(fā)展讓大家都可以接觸到計(jì)算機(jī)和因特網(wǎng)。對(duì)于普通人家，計(jì)算機(jī)現(xiàn)在已不再陌生。第二，網(wǎng)絡(luò)技術(shù)也越來越成熟了。人們起初不相信在互聯(lián)網(wǎng)上進(jìn)行商業(yè)交易，而現(xiàn)在卻開始相信在互聯(lián)網(wǎng)上做生意是非常方便和有效的。第三,電子商務(wù)是迄今為止最快的方式來完成遠(yuǎn)距離的交易。它使人們可以在家里做生意、節(jié)省時(shí)間和不必要的手續(xù)。這就是為什么電子商務(wù)非常適合繁榮的世界經(jīng)濟(jì)，而且它還使SOHO誕生了，使得一群特殊的人在家里工作。一個(gè)有前途的電子商務(wù)的趨勢是不可避免的。因此讓我們準(zhǔn)備接受這勢不可擋的趨勢。
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