[精選]學(xué)英語作文6篇

　　在我們平凡的日常里，大家對作文都再熟悉不過了吧，作文根據(jù)寫作時限的不同可以分為限時作文和非限時作文。為了讓您在寫作文時更加簡單方便，以下是小編為大家整理的學(xué)英語作文6篇，希望對大家有所幫助。

學(xué)英語作文 篇1

　　My mother is good at making all kinds of desserts. All of my friends like to taste her food and I am so proud of my mother. One day, I told my mother that I wanted to learned making dessert, she was very happy to teach me. I followed all the steps and I found I was enjoying making the food. I think I can try to make more food with my mother.

　　我媽媽擅長做各種甜點，我所有的朋友都喜歡品嘗她做的.食物，我為我媽媽感到驕傲。有一天，我告訴媽媽我想學(xué)做甜點，她很樂意教我。我照著所有的步驟做，我發(fā)現(xiàn)我很喜歡做吃的。我覺得我可以跟媽媽一起做更多的食物。

學(xué)英語作文 篇2

　　I’m a primary school student and my school is beautiful. It is not too big or too small. But it is old, because it has a long history. It has many flowers and trees. They very beautiful. Our school has seven classrooms, a teachers’ office and a playground. We study in the classroom, play games and do morning exercises in the playground. In my eyes, it is the most beautiful school. We are happy to study there.

　　參考翻譯

　　我是一個小學(xué)生，我的學(xué)校是很漂亮的`。它不是很大也不是很小。但是因為它已經(jīng)存在很長的時間，所以已經(jīng)舊了。學(xué)校里面有很多花草樹木。它們都很漂亮，我們學(xué)校有七個教室一個教師辦公室和一個操場。我們在教室里面學(xué)習(xí)，在操場上玩游戲，做早操。在我眼里，我的學(xué)校是最美麗的學(xué)校。我很開心在那里學(xué)習(xí)。

學(xué)英語作文 篇3

　　With the development of the modern technology，private car is no longer a luxurious thing for ordinary people，more and more people drive to work instead of going by bus. The popularization of private car has many advantages.First， it is very convenient and time-saving ，you can drive your own car to the workplace instead of waiting for the crowded bus and afraid of being late for working.Second，it can also improve the traffic structure，and help to mitigate the stress of the traffic.Third， the popularization of private car can help to promote the car industry and any other interrelated industries. I believe that in the future the private car will become the most important vehicle and we cann't live without it.

　　隨著現(xiàn)代科技的發(fā)展，私人汽車對于普通人來說不再是一件奢侈的事情，越來越多的人開車去上班而不是乘公共汽車。私人汽車的普及有很多優(yōu)點。首先，它是非常方便和節(jié)省時間，你可以駕駛自己的汽車去工作而不是等著擁擠的.公共汽車和上班遲到。第二，它也能改善交通結(jié)構(gòu)，有助于緩解交通壓力。第三，私人汽車的普及可以幫助促進汽車產(chǎn)業(yè)和其他相關(guān)產(chǎn)業(yè)。我相信在未來的私家車將成為最重要的交通工具，我們不能沒有它。

學(xué)英語作文 篇4

　　Time to also hurried to also in a hurry, and in a twinkling of an eye in 20xx, today is the second day of this year. All start from the beginning, depart from here.

　　Say the scenery around it first of all, those trees they have experienced a year old, at the moment they are animated show their most beautiful side. The leaves green, is so simple. Looking from a distance, they are so spirit, as if they have understood what each one is a picture of a happy appearance, I know, is the arrival of the New Year, they are a way to welcome the New Year.

　　That put the flowers in the ribbon that belongs to his own, a shake, seem to be in the singing, dancing in that it happened, they know that in it was not long before they're leaving, to leave this world, but they are not terrible, that's nothing, they are still in that do their job, some still out of fragrant incense, let a person feel a kind of kuang more.

　　The grass was more great, at this time, they are a lot of life left the world, yes, but they leave the next generation, continue to add the color for us. Make them beautiful foil to our.

　　Every one so we have a new idea, the idea is that we desire, because in our world, we wish everyone has a different, so we are in 20xx, we will use their own way to complete.

　　Of course when we to finish our task, will encounter this or that kind of difficulty, in that the first thing we should keep a good state of mind.

　　In order to our goal, and efforts, and fuel.

　　時間來也匆匆，去也匆匆，轉(zhuǎn)眼間又到了20xx年，今天已經(jīng)是今年的第2天了。所有的出發(fā)都從這開始，從這里起程。

　　首先來說說周圍的風(fēng)景吧，那些大樹它們又經(jīng)歷了一歲，在此刻它們正在生機勃勃的展現(xiàn)著自己最美的一面。樹葉綠綠的，是那么的純真。遠遠的望去，它們是那么的精神，好像它們也明白了什么，一個個都是一幅高興的樣子，我知道了，是新的一年里的到來，它們做出歡迎新年的到來的一種方式表達。

　　那花兒在那屬于自己的地方絢放，一搖一搖的`，似乎在那唱歌，在那偏偏起跳舞，它們知道，在沒過多久它們就要走了，離開這個世界，但它們并不可怕，那沒什么的，它們?nèi)栽谀亲鏊鼈兊氖�，有的還有的散出芬芬芳香，讓人有一種曠神怡的感覺。

　　那草兒更加的偉大，在這個時候，它們好多的生命都離開了這個世界，是的，但它們留下了下一代，繼續(xù)為我們添加色彩。讓它們的美麗來襯托我們的美麗。

　　所以我們每個一個都要有一個新的想法，那個想法是我們的愿望，因為在我們的世界里，我們每個人都有不同的愿望，所以我們在20xx年，我們會用自己的方式去完成。

　　當然在我們?nèi)ネ瓿晌覀兊娜蝿?wù)的時候，會遇到這樣那樣的困難，在那我們首先要保持好的心態(tài)。

　　為了我們的目標，而努力，而加油。

學(xué)英語作文 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)英語作文 篇6

　　Grace is one of myclassmates.

　　She is not good at study, though she usually works very hard. Maybeshe just doesn’t find the learning method suitable for her. In my mind, she isclever.

　　Thongh she is not good at study, she is popular in our class. In allpeople’s mind, she is kind and optimistic. Treating everyone as friend, she hasno enemy.

　　As she doesn’t study well, it is hard to avoid feeling sad. However,everytime she just feels sad for a while and then recovers for the first one.

　　Sometimesit is her who comforts us for not for not doing well in the exam. Look, she isso cute!

　　格瑞斯是我的一個同學(xué)。她學(xué)習(xí)不好，雖然她平時非常努力學(xué)習(xí)。也許她只是沒有找到適合自己的學(xué)習(xí)方法而已。在我眼里，她是很聰明的。雖然她學(xué)習(xí)不好，但她在班里人緣很好。在所有人的眼里，她是友好，樂觀的`。她對待每個人都像朋友一樣，所以她沒有敵人。因為學(xué)習(xí)不好，難免會感到悲傷。但是，每次她都只是難過一會，就第一個恢復(fù)了。有時候還是她安慰我們這些因為考試不好而難過的人�？�，她是如此的可愛！

【學(xué)英語作文】相關(guān)文章：

學(xué)英語作文11-06

【精選】學(xué)英語作文07-23

[經(jīng)典]學(xué)英語作文07-20

（經(jīng)典）學(xué)英語作文07-21

學(xué)英語的作文02-10

學(xué)英語作文(精選)07-24

學(xué)英語作文（經(jīng)典）07-27

學(xué)英語作文【推薦】04-07

【推薦】學(xué)英語作文01-27

【熱】學(xué)英語作文01-30