学英语作文

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关于学英语作文锦集六篇

　　在日常学习、工作或生活中，大家总免不了要接触或使用作文吧，写作文是培养人们的观察力、联想力、想象力、思考力和记忆力的重要手段。作文的注意事项有许多，你确定会写吗？下面是小编整理的学英语作文6篇，仅供参考，欢迎大家阅读。

关于学英语作文锦集六篇

学英语作文篇1

　　The Twoay Weekend

　　Generally speaking, twoay weekends are not only a time for us college students to relax, but also a time to improve ourselves. To test from a week’s hard work, we have plenty of recreation opportunities. We can read to our hearts’ content, can go sightseeing, and can play games with our friends. Some students find partime jobs at weekends so that they can ease their families’ financial burdens.

　　However, some students are just wasting their time. Some spend their time playing cards, and even drinking and eating with their friends. Some spend the whole weekend going traveling and feel tired when they return to school, so that their studies will be greatly affected.

　　As a student, I think the first thing I should do is to go over the lessons. Spending two or three hours in going over lessons every weekend will give me great returns. After finishing my schoolwork, I can do many other things, for example, mountain climbing, watching films and skating. In short, if we plan well, we can achieve a bit on weekends. Otherwise, we’ll get nothing.

学英语作文篇2

　　My Loyal Friend

　　I have a cat. I raised it two years ago. Now she companies me all the time, when my parents are out, I won’t feel lonely. She is my loyal friend, and I can tell my secret to her. Once she is sick and I feel sad, when she is better, I become happy again. The cat is part of my family.

　　译文：

　　我有一只猫，我两年前养的。现在她总是陪着我。父母不在家时，我也不会感到孤独。她是我忠实的朋友，我还可以告诉她我的'秘密。一旦她生病了，我会感到悲伤，当她病好了，我就会开心起来。这只猫是我家的一份子。

学英语作文篇3

　　My Summer Trip I went to beijing to play during last summer holiday. I went to Beijing more than eight times. Beijing is the capital of China. It’s a big city. I am very familiar with Beijing. It takes an hour and forty minutes from Nantong to Beijing by plane. There are many tall buildings in Beijing. It’s a modern city. My family visited the Great Wall, the Palace Museum, the Beihai Park, I went to the countryside of Beijing to go boating and fishing. It was very interesting. I went shopping in WangFuJing. I bought lots of souvenirs and other things. I like eating Beijing snacks. They are delicious. Don’t miss the Beijing Duck. It is really nice. The trips helped me open my eyes. I enjoyed my day.

　　去年暑假我去北京游玩。我去过那里超过8次，北京是中国的`首都。他是个大城市。我非常熟悉北京。从南通到北京坐飞机要花上1个小时四十分钟。北京有很多高的建筑物。他是个摩登城市。我和家人一起参观了长城，故宫，北海公园。我还去了北京的乡村划船和钓鱼。那十分有趣。我爱吃北京小吃，它们非常美味。别忘了还有北京烤鸭。他真的很好吃。这次旅行让我大开眼界，我玩得很开心。

学英语作文篇4

　　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.

学英语作文篇5

　　一天，小花猫看见自己的好朋友都会说英语，他很羡慕。他想：如果我也会英语，我就能用英语和他们交谈了。更主要的是20xx年在北京召开奥运会时，主人去北京观看体育比赛，我就能跟在他身边，用英语和外国猫交谈了，那多过瘾哪！

　　小花猫一向很自信。不是有位名人说过吗？“自信加本领等于一支战无不胜的军队”，小花猫和他的主人一样，很爱读书，他记得很多人类的名言警句，尤其是把这一句当作了自己的座右铭，所以他想：“我一定会比别人学得更好！”

　　小花猫特地去超市买了一台复读机，猫妈妈请来了能讲一口流利英语的波斯猫做他的英语老师。第一天，波斯猫老师教他学26个英文字母，小花猫很快就全学会了，还把它们背得滚瓜烂熟。波斯猫老师乐得合不拢嘴，不住地喊：“Good！Good！”波斯猫老师趁热打铁，又教小花猫读“cat”等英语单词，小花猫也很快就学会了。这下，小花猫觉得学英语太容易了，他很得意。

　　过了几天，随着学过的单词越来越多，小花猫觉得学英语太枯燥了，而且那么多的单词在头脑中“打架”，让他烦透了，所以他不想继续学了。猫妈妈见了，很着急，她对小花猫讲：“学习要有恒心，像你这样怎么能学得好呢？你不是读过这样一句人类的警句‘锲而舍之，朽木不折；锲而不舍，金石可镂’吗？”小花猫听了很受教育。他想：“做什么事都要讲方法，有好方法，才能事半功倍，学英语也不例外，要讲方法，才能学得快。” 可是有什么好方法呢？小花猫一时还找不到，他很焦急。

　　有一天，小花猫走在街上，看到了一条标语“小草青青，何忍践踏”，他不自觉地读了一遍，回头走过的'时候，他又读了一遍，过了好几天，他仍旧会想起这句标语。于是，他灵机一动，把老师教过的单词、短语都写在卡片上，贴在床头边、窗子上、卫生间里，每天都要把这些单词、短语读几遍，慢慢地他就都会背了，老师夸奖他学习进步很快。

　　从此以后，小花猫学英语的兴趣越来越浓，现在，他已经能讲一口流利的英语了。你若不信，尽可以上英语角去找他，与他较量较量，只怕你会输给他哟！

学英语作文篇6

　　Dear David,

　　I’m glad that you've noticed our efforts directed towards environmental protection. Thank you for your concern. As too much use of plastic bags has caused serious white pollution, our govenment encourages us to use environment-friendly shopping bags. These bags are made of a variety of material that can be easily treated when they become rubbish. Besides, they can be reused. More and more people in China have realized the advantages of such bags and started using them. I believe that the wide use of these shopping bags can greatly improve our environment. This is one of the many steps we are to make our country an even cleaner place.

　　Yours, Li Hua

　　亲爱的戴维，

　　我很高兴你已经注意到我们的努力对环境保护的努力。谢谢您的关心。过多使用塑料袋已经造成了严重的白色污染，我们的政府鼓励我们使用环保购物袋。这些塑料袋是由各种材料制成的`，它们可以在垃圾变成垃圾时容易处理。此外，他们可以重复使用。在中国，越来越多的人已经意识到了这些袋子的优点并开始使用它们。我相信这些购物袋的广泛应用可以大大改善我们的环境。这是我们为使我们的国家更清洁的地方之一。

　　你的，李华

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