學(xué)英語作文

學(xué)英語作文【優(yōu)選5篇】

　　在日常學(xué)習(xí)、工作和生活中，大家都經(jīng)�？吹阶魑牡纳碛鞍�，作文是通過文字來表達一個主題意義的記敘方法。如何寫一篇有思想、有文采的作文呢？下面是小編為大家整理的學(xué)英語作文5篇，僅供參考，希望能夠幫助到大家。

學(xué)英語作文 篇1

　　When it comes to success, different people have different opinions about what makes it come true. Some people regard hard-working as an essential quality to success while others believe being clever would lead to success. From my point of view, I think perseverance and hard-working are indispensable for those who want to make an achievement.

　　談到成功時，對于實現(xiàn)成功的原因不同的人有不同的看法。有些人認(rèn)為勤奮是成功必備的素質(zhì)，而另一些人則相信聰明人會實現(xiàn)成功。從我的角度來看，我認(rèn)為毅力和勤奮對于那些想要成功的人是必不可少的。

　　Firstly, perseverance let people step closely towards success. Most people want to make a big difference to prove their value. People who set their goal and keep moving would make their dream come true. However, there are some people who set their goal but they stop at the difficulty would fail in the end. I think the difference between success and failure is perseverance. If we have perseverance, even if we are not clever, we will make a great difference, but if we not, we are doomed to lose. As we all know, Edison i

　　s a great inventor in the world. However, before he invented the bulb, he kept trying for tens of thousands of times to find a suitable wire. Let us imagine, if he gave up at the 999th, then how he couldn’t become so successful. So, I strongly believe that perseverance produces success.

　　首先，毅力讓人離成功越來越近。大多數(shù)人都想用不同的方式證明自己的價值。設(shè)定自己的目標(biāo)，向著目標(biāo)走，就可以使夢想成真了。然而，有些人設(shè)立了目標(biāo)，卻在困難面前妥協(xié)了將以失敗告終。我認(rèn)為成功與失敗之間的差別是毅力。如果我們有毅力，即使我們不聰明，我們也會有很大的不同，但是如果我們沒有毅力，我們注定是要失敗的。我們都知道，愛迪生是一位偉大的發(fā)明家。但是，在他發(fā)明電燈泡前，他試了為數(shù)千次去找一個合適的線。讓我們想象一下，如果他在第九百九十九次放棄了，那么他就不可能變得如此成功。因此，我強烈認(rèn)為，堅持就會成功。

　　Secondly, there is also a kind of people who are born with cleverness, I think they are lucky. Nevertheless, if they don’t make a hard work on their way to their goal, they, absolutely, will become loser. Whether we are gifted for intelligent, we must be hard-working so as to success. I regard hard-working as an efficient approach to be successful because I believe ‘pains and gains’. As for those who do not make great efforts on work, failure follows. In old times, there is a clever boy who can make excellent poem when he can talk. When his father found the little child’s cleverness, he just let the child make poems to show around while never let the boy learned anything. When the boy grew up, people forgot him because he lost the ability

　　to compose poems and became ordinary as others. From this matter, we can see that only by hard-working can we get knowledge and make a good future.

　　其次，還有一種人是天生聰明的，他們是幸運的。然而，如果他們沒有在實現(xiàn)目標(biāo)之前努力工作，他們當(dāng)然也會成為失敗者。無論我們是否有天資，我們都應(yīng)該努力工作以獲得成功。我認(rèn)為勤奮是成功的一個有效的方法，因為我相信的“付出和收獲”。對于那些不努力工作的人最后是失敗的了。在古代，有一個聰明的男孩，在他能說話的.時候就可以作優(yōu)秀的詩歌。當(dāng)他的父親發(fā)現(xiàn)他孩子的聰明時，他只是讓孩子到處作詩歌來炫耀，卻從不讓他兒子學(xué)習(xí)別的知識。孩子長大后，人們把他遺忘了，因為他失去了創(chuàng)作能力，成為了普通人。從這件事中，我們可以看到，只有通過努力工作才能獲得知識，擁有一個好的未來。

　　Anyway, I think perseverance and hard-working are both important in our way to success for they enhance us and produce success.

　　不管怎么樣，我覺得毅力和勤奮在成功路上都是很重要的，因為他們提升我們并獲得成功。

學(xué)英語作文 篇2

　　People hold different views about X. Some people are of the opinion that 觀點1, while others point out that 觀點2. As far as I am concerned, the former/latter opinion holds more weight. For one thing, 論據(jù)1. For another, 論據(jù)2.

　　Last but not the least, 論據(jù)3.

　　To conclude, 總結(jié)觀點. As a college student, I am supposed to 表決心. 或 From above, we can predict that 預(yù)測.

學(xué)英語作文 篇3

　　I like to play computer games so much,我喜歡玩電腦游戲,

　　every night, I will sleep very late.每天晚上,我都會很晚睡覺。

　　Then the next day,然后第二天,

　　I will be very tired我會很累,

　　and can’t focus my attention on my study.無法集中注意力在學(xué)習(xí)上。

　　I am so annoyed,我很煩惱,

　　I need to change my bad habit.需要改變我的壞習(xí)慣。

　　So I decide to make some plans.于是我做了些計劃。

　　I force myself to sleep before 11 o’clock我強迫自己在11點鐘之前睡覺

　　and play the computer games on weekends.周末才玩電腦游戲。

　　Now it works slowly.現(xiàn)在慢慢開始生效了。

學(xué)英語作文 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.

學(xué)英語作文 篇5

　　The impact of Television In recent years， with the development of science and technology， 80 percent of all homes in China have satellite TV， offering as many as 50 channels。 It has caused a heated debate on (the impact of television on children)。 Many parents are worried about the impact of so much television on children。

　　The factors for (parents' worry is that children are indulge in television and spend too much time on it。)。 First of all， (with so many programs to choose from， children are not getting as much exercise as they should)。 Then， there comes a case that (some studies have show that excessive watching of television by millions of children has lowered their ability to achieve in school)。 Moreover， (the effect on children's minds are more serious than the effect on children's bodies)。 Especially when (the children are too small to judge what programs are suit to them)。

　　Indeed， these unique points can be connected to remind parents that (they should pay close attention to and responsibilities for supervising their children's TV viewing)。 In this way， children will not be influenced too deeply。

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