学英语作文

学英语作文锦集(6篇)

在日复一日的学习、工作或生活中，说到作文，大家肯定都不陌生吧，作文是人们以书面形式表情达意的言语活动。写起作文来就毫无头绪？下面是小编整理的学英语作文6篇，仅供参考，希望能够帮助到大家。

学英语作文 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.

的名字叫王荣耀，今年十岁，就读民万华小。

我有一张瓜子脸，和一张很会说话的嘴巴。我的`鼻梁上架着一副眼镜。

在学校，我表现出沉稳的一面，让老师和同学们觉得我很有自信，其实我是个胆小鬼。在家里，我的嘴巴就像没有关紧的水喉在叽叽喳喳地说个不停，所以妈妈都叫我“叽喳公”。

我很有爱心，每当我看见有小动物受伤时，我就会马上带它回家治疗。朋友都说我像一位兽医。

我的缺点是我太粗心大意了。有一次，我把简单的题目给弄错了，所以被老师扣了几分。我还差那一题就一百分了。但是，我现在渐渐地跟粗心大意说再见。

我要努力读书，为社会做出一份贡献。

学英语作文 篇2

妈妈是老师，放暑假了，妈妈也没上班了，呵呵，我可倒霉了！为什么了，各位同学，你们就细心的听我诉苦吧！

每天上午，我都要去作文辅导班，下午二点，妈妈就会准时让我学英语，其实我妈对我也不错，你瞧，她怕我闷，还给我找来了个小伙伴了，他是同年级（3）班的邓偲，我现在就来介绍一下我们是怎样学英语的吧！我妈用的可是高科技教学法，她打开电脑，在网上找到我们英语课编委会成员吴悦心老师讲课的视频，就要我们认真的.听，在这个过程中，妈妈偶尔来个暂停，提一些问题，要我和邓偲抢答，我们要是回答不上，妈妈就会用书敲我们的手，听完视频，妈妈就会拿来点读机，她点我们读，一遍又一遍，我们每天都要记十几个单词，第二天还会复习，错了的话，我们的小手可就惨喽！读完了，我们就开始动笔写了，妈妈要求很严厉，要我们写的又快又好，要是没写好，罚的可严了，最少是十遍以上。不过，在这样严格我教导下，我们的辛苦也没白费，你看我的英语这次考了九十六，邓偲九十九，我决定，我要认真的学习，我一定要超过他！

小朋友们，我的超级老妈厉害吧！嘿嘿！你们要不要来我家试一试呀！

学英语作文 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.

学英语作文 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?

学英语作文 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.

学英语作文 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.