學(xué)英語(yǔ)作文錦集(6篇)
在日復(fù)一日的學(xué)習(xí)、工作或生活中，說(shuō)到作文，大家肯定都不陌生吧，作文是人們以書面形式表情達(dá)意的言語(yǔ)活動(dòng)。寫起作文來(lái)就毫無(wú)頭緒？下面是小編整理的學(xué)英語(yǔ)作文6篇，僅供參考，希望能夠幫助到大家。
學(xué)英語(yǔ)作文 篇1
Name is Wang Rongyao, ten years old this year, people studying Chinese.
I have a frame, and a mouth very will talk. My nose on a pair of glasses.
At school, I showed a stable side, let my teachers and classmates think I'm quite confident, in fact I am a coward. At home, just as it had been shut my mouth water above on, so the mother call I "****".
I am very caring, when I saw a small animals were injured, I'll take it home. Friends said I like a vet.
My weakness is I was too careless. On one occasion, I give wrong the simple subject, so the somewhat by the teacher. I am that one short of a percentage. But, now I say goodbye to careless gradually.
I will study hard, to make a contribution to society.
的名字叫王榮耀，今年十歲，就讀民萬(wàn)華小。
我有一張瓜子臉，和一張很會(huì)說(shuō)話的嘴巴。我的`鼻梁上架著一副眼鏡。
在學(xué)校，我表現(xiàn)出沉穩(wěn)的一面，讓老師和同學(xué)們覺(jué)得我很有自信，其實(shí)我是個(gè)膽小鬼。在家里，我的嘴巴就像沒(méi)有關(guān)緊的水喉在嘰嘰喳喳地說(shuō)個(gè)不停，所以媽媽都叫我“嘰喳公”。
我很有愛(ài)心，每當(dāng)我看見(jiàn)有小動(dòng)物受傷時(shí)，我就會(huì)馬上帶它回家治療。朋友都說(shuō)我像一位獸醫(yī)。
我的缺點(diǎn)是我太粗心大意了。有一次，我把簡(jiǎn)單的題目給弄錯(cuò)了，所以被老師扣了幾分。我還差那一題就一百分了。但是，我現(xiàn)在漸漸地跟粗心大意說(shuō)再見(jiàn)。
我要努力讀書，為社會(huì)做出一份貢獻(xiàn)。
學(xué)英語(yǔ)作文 篇2
媽媽是老師，放暑假了，媽媽也沒(méi)上班了，呵呵，我可倒霉了！為什么了，各位同學(xué)，你們就細(xì)心的聽(tīng)我訴苦吧！
每天上午，我都要去作文輔導(dǎo)班，下午二點(diǎn)，媽媽就會(huì)準(zhǔn)時(shí)讓我學(xué)英語(yǔ)，其實(shí)我媽對(duì)我也不錯(cuò)，你瞧，她怕我悶，還給我找來(lái)了個(gè)小伙伴了，他是同年級(jí)（3）班的鄧偲，我現(xiàn)在就來(lái)介紹一下我們是怎樣學(xué)英語(yǔ)的吧！我媽用的可是高科技教學(xué)法，她打開(kāi)電腦，在網(wǎng)上找到我們英語(yǔ)課編委會(huì)成員吳悅心老師講課的視頻，就要我們認(rèn)真的.聽(tīng)，在這個(gè)過(guò)程中，媽媽偶爾來(lái)個(gè)暫停，提一些問(wèn)題，要我和鄧偲搶答，我們要是回答不上，媽媽就會(huì)用書敲我們的手，聽(tīng)完視頻，媽媽就會(huì)拿來(lái)點(diǎn)讀機(jī)，她點(diǎn)我們讀，一遍又一遍，我們每天都要記十幾個(gè)單詞，第二天還會(huì)復(fù)習(xí)，錯(cuò)了的話，我們的小手可就慘嘍！讀完了，我們就開(kāi)始動(dòng)筆寫了，媽媽要求很嚴(yán)厲，要我們寫的又快又好，要是沒(méi)寫好，罰的可嚴(yán)了，最少是十遍以上。不過(guò)，在這樣嚴(yán)格我教導(dǎo)下，我們的辛苦也沒(méi)白費(fèi)，你看我的英語(yǔ)這次考了九十六，鄧偲九十九，我決定，我要認(rèn)真的學(xué)習(xí)，我一定要超過(guò)他！
小朋友們，我的超級(jí)老媽厲害吧！嘿嘿！你們要不要來(lái)我家試一試呀！
學(xué)英語(yǔ)作文 篇3
The Moonlight Clan
Nowadays, more and more people, especially the young are joining in the army of the moonlight clan. These people exhaust their earnings every month without any savings. Many people think this is a fashionable life style, while more other people object to this kind of consumption style.
Those who support the moonlight clan think that those people know how to enjoy life and have a higher life quality. However, more other people criticize the moonlight clan. They say that the consumption habit of the moonlight clan is unhealthy and sometimes wasteful. In addition, no savings will place the moonlight clan in a difficult position in case of unexpected expenses.
Weighing these two arguments, I prefer to the latter one. In my eyes, though the moonlight clan may acquire temporary satisfaction from their consumption, in the long term, it is unfavorable to their family and career. Just as a proverb says, one should always prepare for a rainy day.
學(xué)英語(yǔ)作文 篇4
City Life and Suburban Life
Where do yo like to live?That is an interesting question.Usually people like to live in big city.But recently,more and more people chose to live out side the city, to live in suburb.
It is true that living in big city is convenient and entertaining.Your work place is not far away,and after work,it is easy for you to cal l your friends to go to a bar or cinema.The re are supermarkets, shopping malls.You can e asily buy any stuff you need.Want to have a dinner?no problem,there are plenty kinds of restaur ants for you to choose.In contract,living in suburb is quite different.I t serves fresh air and beautiful scenery and , for someone that is the most important thing,quiet.Though live in suburb have some inconv enient aspects,some peop le seem to perefer to sacrifice some convenience to live in quiet places.And as cars and inter net are becoming more and more common.Living in suburb is not so boring like before.
For me,I like to live in big city when i am young,because the colorful life a n d convenience for working.And when I was old,I may choose to live in suburb to enjoy the quiet life and fresh air.Do yo think so?
學(xué)英語(yǔ)作文 篇5
It is said that there was a farmer served a poor boy on a cold windy Chrismas Eve and gave him a big chrisemas meal. The boy cut a Fir tree's branch and ed it into the earth.He said, "every year this time. There will be many presents in this branch. I wish I can pay back to your favor by this beautiful Fir tree. " After the boy left, the farmer discovered that the branch had grow up as a big tree. Then he realized that the boy was an envoy of the god.
This is the origin of the chrismas day. In western countries, Whatever you are, everyone will prepare a chrismas tree to increase the happiness of the chrismas day.Chrismas trees are made of evergreen tree like Fir trees and they represent the long lives.People put candles,flowers,toys,stars on the tree and they put chrismas present on thetree.
On Chrismas Eve,people sing and dance happily and they enjoy themselves around the tree.
學(xué)英語(yǔ)作文 篇6
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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