[實(shí)用]學(xué)英語(yǔ)作文8篇
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學(xué)英語(yǔ)作文 篇1
題目：
1. 目前有一些人喜歡在網(wǎng)上炫富
2. 人們對(duì)這一現(xiàn)象的看法不一
3. 我的看法
Displaying Wealth Online
Nowadays, it is not rare to see people displaying their wealth on the Internet. Some post pictures of luxury goods, such as brand clothes and bags, luxurious automobiles or jewelries. Some write about their experiences in which a lot of money is spent.
People have different responses to this phenomenon. Some say that it is people’s right to share their possessions or experiences with others on the Internet, as long as the things are legal and the experiences real. However, some criticize that the rich people are too arrogant. What’s worse, there are also a few who are not actually rich but put fake photos only to satisfy their vanity.
In my opinion, sharing is a good thing, and it is exactly the spirit of the Internet. But people should make careful choice on what they are sharing. After all, showing off is not very nice, not to mention faking.
學(xué)英語(yǔ)作文 篇2
M favrite teacher is Miss Huang. She is a beautiful lad. She has tw big ees, a high nse and a sall red uth. There is alwas a sile n her face.
我最喜歡的老師是黃老師。她是一位美麗的女士。她有一雙大大的眼睛，一個(gè)高高的鼻子和一個(gè)小小的紅色的嘴巴。她的臉上總是帶著微笑。
Miss Huang lies singing and cllecting psters. She is gd at plaing the pian. In the evening, she alwas sits in frnt f the pian and plas nice usic. She is gd at dancing, t. Seties she teaches us dancing.
黃老師喜歡唱歌和收集海報(bào)。她擅長(zhǎng)彈鋼琴。傍晚的時(shí)候，她總是坐在鋼琴前面彈奏優(yōu)美的曲子。她還擅長(zhǎng)跳舞。有時(shí)候，她會(huì)教我們跳舞。
Miss Huang lies dgs ver uch because the dg is ver friendl and cute. Her favrite clr is blue. Because blue is the clr f the s and the sea.
黃老師非常喜歡小狗，因?yàn)樾」泛苡押�，很可�?ài)。她最喜歡的顏色是藍(lán)色。因?yàn)樗{(lán)色是天空和大海的.顏色。
This is favrite teacher. Our classates all lie her ver uch.
這就是我最喜歡的老師。我們所有的同學(xué)都很喜歡她。
小作者從外貌、愛(ài)好、喜歡的動(dòng)物和顏色等五個(gè)方面介紹了他最喜歡的老師，表達(dá)了自己對(duì)老師的喜愛(ài)之情。
學(xué)英語(yǔ)作文 篇3
Along with the highly advanced society, the importance of innovation has been attached more and more significance in our country. There abound numerous novel gadgets in our daily life.
There exist countless contributors for this phenomenon mentioned above, while the following might be the most critical ones. To begin with, seen from the individual’s perspective, once equipped with innovation, he could be compelled to be never satisfied with his status quo, which guarantees his personal success. Apart from that, innovation is the main driving force behind increased competitiveness. To be the unrivaled one in the whole world, a nation has to keep abreast with time, ensuring the dominance of creation.
To put all into a nutshell, it goes without saying that innovation does matter. On the one hand, relevant authorities are supposed to set up relevant rules and regulations so as to highlight innovation. On the other hand, we each individual should cultivate this kind of viewpoint since our childhood, by which means we could be bestowed with a bright and promising future!
學(xué)英語(yǔ)作文 篇4
In this picture a man rudely opens a garbage can and violently throws all kinds of waste into it. however, the box is not an ordinary trash can, but is, as a matter of fact, the earth. it is where survive, breed, and prosper. but as the drawing indicates, earth does not receive an equal repayment. quite the contrary, one of the biggest "gifts" humans return to earth is an unbelievable amount of trash.the picture purposefully points out a kind of pollution that arouses little public attention, that is, garbage. the past century has witnessed an unprecedented increase in garbage output, most of it technological products that are difficult to be decomposed through natural processes, such as plastics and glass. furthermore, a recent report released that several major chinese cities are already surrounded by circles of trash in the suburban areas, polluting air, water, and earth.
Hence, the issue of waste pollution needs to be addressed as one of the priorities that demand social efforts. only through a holistic system of trash disposal can this problem be fully solved. moreover, we should advocate a more frugal lifestyle so as to reduce the growing scale of waste pollution.
學(xué)英語(yǔ)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(yǔ)作文 篇6
Cockroaches are the insects that frighten me most.蟑螂是最讓我害怕的昆蟲。
I wasn't afraid of them before, but now I can't stand them. One day, when I was sleeping, some disgusting odor came to my nose. I found a dead cockroach under my body and its eggs on my pillow! I almost died! I jumped off my bed at once and took a bath quickly. That experience made me hate cockroaches.我以前是不怕他們的，但是現(xiàn)在卻受不了他們。一天，當(dāng)我正在睡覺(jué)的時(shí)候，我聞到了一股很惡心的味道。我發(fā)現(xiàn)在我的身下有一只蟑螂，它的卵在我的枕頭上。我?guī)缀鯂標(biāo)�。我立刻跳下了床，沖了個(gè)澡。那次經(jīng)歷讓我開(kāi)始恨蟑螂。
What I find the most disgusting is when a cockroach fly around the room. I'm always afraid that they might stop on my body. Hearing the sound of its wings makes me nervous and afraid.我發(fā)現(xiàn)最惡心的是當(dāng)有蟑螂在房間里面飛。我總是害怕它們會(huì)飛落在我的身上。聽(tīng)到蟑螂翅膀振動(dòng)的.聲音會(huì)讓我緊張害怕。
Cockroaches pose a threat to our daily lives. A dirty environment will attract many cockroaches and it does harm to our health. They pollute food and water and bring many illnesses, such as dysentery and skin diseases.蟑螂危害著我們每天的生活。骯臟的環(huán)境會(huì)引來(lái)大量的蟑螂，并危害我們的健康。它們污染我們的食物和水，并給我們帶來(lái)疾病。比如痢疾，和皮膚病。
I can't help shivering at the sight of them.每次見(jiàn)到蟑螂我都禁不住會(huì)嚇得發(fā)抖。
小作者記述了自己害怕蟑螂的原因，還有蟑螂對(duì)人們生活的危害，來(lái)表現(xiàn)自己對(duì)蟑螂的懼怕。
學(xué)英語(yǔ)作文 篇7
unday Jane with her mother to go to zoo.In the zoo,they look mang animal.She and her mother look at elephants,lions and tigers.Some animals are very nice,some animals are very ugly,same animals are firendly.Jane have a good time,bcease sheis very like those animals.
星期天jane 和她媽去動(dòng)物園 ,在動(dòng)物園 他們看了好多動(dòng)物. 她和她媽看了大象,獅子和老虎.有些動(dòng)物還很漂亮.有些就好丑的. 有些很友好. jane過(guò)得很愉快,因?yàn)樗孟矚g那些動(dòng)物
附：逛動(dòng)物園作文
今天，我和爸爸、媽媽乘坐游六路來(lái)到了石家莊市動(dòng)物園。
走進(jìn)大門，我們首先參觀了“火烈鳥館”，火烈鳥的嘴端是黑色的，它的中基部是粉色的，羽毛是粉紅色的，特別美麗。接著，我們又參觀了珍猴館，里面有黑葉猴，黑疣猴，長(zhǎng)尾猴，這些小猴子都非常的獨(dú)特。我們又參觀了“猩猩館”，“大象館”，“猴山”，還有“熊貓館”。最使我們難忘的還是“熊貓館”，里面有兩只大熊貓，一只是“朵朵”，另一只是“婭祥”，“朵朵”很安靜的在隔壁吃竹子，而“婭祥”在外邊，是因?yàn)楣ぷ魅藛T要清理一下“婭祥”的屋子，“婭祥”還以為進(jìn)不去了，于是就用腳踹，屁股頂，身體撞，還站立起來(lái)拍打玻璃窗，非要進(jìn)去，后來(lái)見(jiàn)撞不開(kāi)，非常生氣惱火，飛快的沿著館墻憤怒的跑了一圈，緊接著又撞門，一連串動(dòng)作非�；挚蓯�(ài)，看得游人非常驚詫，與電視上溫順可愛(ài)的大熊貓完全兩樣。這樣重復(fù)了好幾次，后來(lái)“婭祥”可能氣糊涂了，竟然倒著走路，我想這只熊貓脾氣可真大呀！不達(dá)目的不罷休。后來(lái)，我進(jìn)館看到“婭祥”的屋子里不僅有新鮮的'竹子，還非常的涼爽，怪不得“婭祥”這麼想進(jìn)來(lái)呀！這時(shí)隨著“嘭”的一聲，“婭祥”終于把門撞開(kāi)了，飛快的跑到竹子旁，立刻躺在地上，而且四腳朝天，緊接著兩手拿起身邊將近兩米竹子，用力地折為兩截，一手拿一截，放到嘴里用牙齒剝皮，剝掉的皮放到自己的肚皮上，光吃里面的肉，就像我們吃甘蔗一模一樣，吃得津津有味，看的我目瞪口呆，“婭祥”和在外邊判若兩人，真是太可愛(ài)了！
依依不舍得離開(kāi)了熊貓館，我們又去了動(dòng)物表演場(chǎng)，我看到了猴升旗，小猴騎單車，獅子、老虎作揖敬禮、小狗熊騎無(wú)座車，還能帶人呢！還有山羊走獨(dú)木橋……非常的有趣。直到散場(chǎng)了我還舍不得離開(kāi)。
還有我和爸爸還登上了動(dòng)物園最高峰，在頂峰的涼亭上，四處眺望，整個(gè)動(dòng)物園盡收眼底，風(fēng)景特別的好，真有一覽眾山小的感覺(jué)。
游玩了一天，讓我收獲頗多，了解了好多動(dòng)物，又從新認(rèn)識(shí)了好多動(dòng)物，從中學(xué)到了好多知識(shí)，讓我大開(kāi)眼界，傍晚的時(shí)候帶著對(duì)動(dòng)物們依依不舍得心情我和爸爸媽媽離開(kāi)了動(dòng)物園回家。
學(xué)英語(yǔ)作文 篇8
hi!i am a chinese girl。my chinese name is lu yingying，my english name is karen。
i am very pleased in this contributor。i am 14 years old，my birthday is in september 25.my favorite sport is basketball。my favorite food is vegetables and i like light purple and light blue best.there three people in my family，my father.my mother and
i 。my father is a doctor, he goes to work by car every day; he likes to eat ice cream, his favorite sport is basketball。 my mother is a teacher, she goes to work by car every day， too and she likes to eat pizza, her favorite sport is volleyball. we have a very happy life, i love my home!
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