[優(yōu)]學(xué)英語作文

　　在平平淡淡的學(xué)習(xí)、工作、生活中，大家都接觸過作文吧，作文根據(jù)體裁的不同可以分為記敘文、說明文、應(yīng)用文、議論文。相信許多人會(huì)覺得作文很難寫吧，下面是小編整理的學(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

　　I am Cendy. I am in Nanhai Experimental Primary School. I am in Class 9, Grade 6. I am tall and thin. I live in Dali. I have many good friends. I often play with them.

　　I have many hobbies, riding a bike, drawing pictures and reading books. But I like to read books the best. Because of reading books is good for my study. I also like riding bikes. Because of it does a lot of good to my body.

　　What’s your hobby? Can you tell me?

　　我是Cendy。我在南海實(shí)驗(yàn)小學(xué)。我在課堂上9年級6。我又高又瘦。我住在大理。我有很多好朋友。我經(jīng)常跟他們玩。

　　我有很多愛好,騎自行車,畫畫和讀書。但是我最喜歡讀書。因?yàn)樽x書對我的學(xué)習(xí)有好處。我也喜歡騎自行車。因?yàn)樗�的很多好我�?身體。

　　你的愛好是什么?你能告訴我嗎?

學(xué)英語作文 篇2

　　As English is widely used today, we learn English since primary school.

　　今天英語被廣泛使用，從小學(xué)開始，我們就要學(xué)習(xí)英語。

　　Some students still ask why they should learn English, we learn English because there are some benefits.

　　一些同學(xué)還在問他們?yōu)槭裁匆獙W(xué)英語，我們學(xué)英語是因?yàn)橛泻芏嗪锰帯?/p>

　　First, we can know more about a foreign language, we can talk to foreigners.

　　第一，我們可以了解多一門外語，與外國人交流。

　　Second, we can pass the exam and our mother will be every happy, we are not falling behind with others.

　　第二，我們可以通過考試，媽媽會(huì)很高興，我們不比別人差。

　　English is so useful.

　　英語很有用處

學(xué)英語作文 篇3

　　hobbies are very important to a person. without having any hobby, life wont be as colorful as it should be. i have a variety of hobbies, such as collecting stamps, playing musical instruments, reading, and doing sport activities.

　　when i am free, i will spend time on my hobbies. when i am in a blue mood, i will also do my hobbies to cheer myself up. hobbies can help us improve our moods. many hobbies requires devotion. for eample, when you play a musical instrument, you have to practice over and over in order to perform good music.

　　after a period if you still enjoy it, gradually it will become a hobby of yours. but, remember: a hobby is like gold under the ground; no hobby will come to you unless you dig it out yourself. if you can treat study as one of you hobbies, learning will be more enjoyable. i hope all of you can find your own hobbies and also have fun from them.

學(xué)英語作文 篇4

　　The other day I went to the park。 And unexpectedly I found in a deserted eorner， a cheerytree in full bloom， just like the kind of flowers I used to see in my former school， Xian Jiaotong University， light pink in color。 To my delight， a sense of familiarity welled up in my mind。 At the same time I could not kelp sighing that life is just like the cheery flowers， beautiful but transient。

　　True to my prediction， in the afternoon I ran to the park。 There was nothing left but the tender twigs。 The flowers fell thick on the ground as if the spring wind were also sad about it and would not bring itself to blow on them and left them scattered everywhere。

　　Fortunately outside it is a beautiful world。 The snow whitepear flowers were glistening as if they were blooming in your face， The roses and peonies were all in bloom， vying silently with each other for beauty。 Spring is really the best season of the year。

　　有一天，我到公園去，無意中在一個(gè)不起眼的角落看見櫻花盛開，就像我曾在我的母�！�—西安交通大學(xué)——看過的那種粉紅色的花一樣。我不禁一喜，心頭涌上一股似曾相識的感覺。就在這時(shí)，我不由自主地感嘆人生就像櫻花一樣美麗而又短暫。

　　果不出所料，下午再跑到公園，只剩嫩枝了�；ê窈竦穆淞艘坏�，好像春風(fēng)也很傷感，不忍把它們吹散，任其撒落在地。

　　幸好外邊的'世界很美麗。雪白的梨花在閃閃有光，就像你那心花怒放的臉龐一樣。玫瑰、牡丹靜靜地爭芳吐艷。春天真是一年中最好的季節(jié)。

學(xué)英語作文 篇5

　　Most children are picky about food and I am one of them, so my mother try to figure out all the ways to let me have balanced diet. She starts to cook the food with different flavors, so I become excited about her food every day. Now my diet is balanced and thanks to my mother, I am no longer picky about food.

　　大多數(shù)小孩都對食物挑剔，我就是其中之一，所以我媽媽用盡所有的.辦法讓我的飲食均衡。她開始做不同口味的食物，所以我開始很期待她每一天做的菜�，F(xiàn)在我的飲食均衡了，因?yàn)槲覌寢�，我不再挑剔食了�?/p>

學(xué)英語作文 篇6

　　Lovely classmates, you help me when I most need someone to help me; when you are in my most lonely time, you help me when I need someone to help me; lovely classmates are comforting me when I am sad. Today, I would like to thank you and sincerely thank you. Hope our friendship lasts forever!

　　I remember one time, the two of us were in trouble. I went out to play with Li Xuan's sister on the night, and you were playing with Paul Yuting. I saw Li Xuan's sister turn over the horizontal bar, but I could not, but I really wanted to try it, and I began to experiment. Ah! It hurts so much to cry. You and jade in the alcove to hear. You immediately come to comfort me and say, "Huang Yuxin, don't you cry?" I was your voice, and I had to stitch it in, and then I felt how familiar your voice was to me. I will say to you: "let's be friends, ha Ngoc, I was wrong, please forgive me." You nodded with a smile.

　　How many days and nights have passed and I don't know how many times you have helped me. Every time you are in my most helpless time, come to help me. I don't know how many times you have helped me, but I know that we will always be good friends, and always be the best friends in the world!

學(xué)英語作文 篇7

　　I love my dog

　　I have a little dog. Its name is Googlo. He is three years old. He has two big eyes. They’re black. He has one blue ear and one black ear. He is clever. I like my Googlo. He can jump and run. He can

　　play football. He likes some fruit. I love my dog--Googlo

　　【參考翻譯】

　　我喜歡我的狗

　　我有一條小狗。它的名字是Googlo.它是三歲。它有兩只大眼睛。它們是黑色的。它有一只藍(lán)耳朵和一只黑耳朵。它很聰明。我喜歡我的`Googlo. 它會(huì)跳和跑。它會(huì)踢足球。它喜歡一些水果。我愛我的狗—Googlo.

學(xué)英語作文 篇8

　　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9

　　For every girl, they are annoyed by the overweigh problem all the time. Looking at the beautiful models shinning everywhere, who can resist the charm. The story about a girl lost her weight for love inspired so many people to be fit. Being fit for love is the best motivation.

　　對于每一個(gè)女孩來說，她們總是受到肥胖問題的困擾。看著美麗的模特?zé)o處不在地吸引人們的眼球,誰能抗拒這樣的魅力呢。關(guān)于一個(gè)女孩為愛而減肥的故事激勵(lì)了很多人去健身。為愛而健身是最好的動(dòng)力。

　　The girl is named Claire, she was born to be fat. She just could not stop eating the food that contained a lot fat, such as ice cream, fired chips and so on. As she was so different from other girls, she was alone for a very long time until a handsome boy was attracted by her beautiful soul. Finally the boy proposed, but Claire was self-debased, she decided to lose weigh and then said yes.

　　這個(gè)女孩名叫克萊爾,她生來就是肥胖的。她無法停止下來吃含有很多脂肪的食物,如冰淇淋、炸薯片等等。她跟其他女孩很不一樣,她獨(dú)自一人生活了很長一段時(shí)間,直到一個(gè)英俊的男孩被她的`美麗吸引了靈魂。最后男孩向她求婚,但是克萊爾感到自卑,她決定減肥,然后再答應(yīng)求婚。

　　Claire worked so hard to lose weight, she refused to the food she liked. She went to the gym every day. She eat the organic food. When ten months passed, claire lost more than 80 pounds, she became an attractive girl and said yes to her boyfriend’s propose. When the couple took pictures, the girl were surprised, for the boy also trained his body just to company her.

　　克萊爾辛辛苦苦減肥,她拒絕了她喜愛的食物。她每天都去健身房。她吃有機(jī)食品。當(dāng)十個(gè)月過去后,克萊爾減掉了超過80磅,她成為一個(gè)有吸引力的女孩,答應(yīng)了男友的求婚。當(dāng)這對情侶拍照片的時(shí)候,女孩感到驚訝,因?yàn)槟泻⒚刻旖∩�，為了陪伴她�?/p>

　　Love her, then being fit with her, that’s a direct way to show love.

　　愛她,然后為她健身,這是一個(gè)直接表達(dá)愛的方式。

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