學(xué)英語(yǔ)作文(必備9篇)

　　在我們平凡的日常里，大家都不可避免地會(huì)接觸到作文吧，通過(guò)作文可以把我們那些零零散散的思想，聚集在一塊。那要怎么寫(xiě)好作文呢？以下是小編精心整理的學(xué)英語(yǔ)作文9篇，歡迎大家借鑒與參考，希望對(duì)大家有所幫助。

學(xué)英語(yǔ)作文 篇1

　　June 8， 20xx

　　Dear Sir/Madam，

　　I am writing to apply for admission to your Graduate School to pursuea Master＇s Degree in Computer Science。 My intended date of entrance is fall 20xx。

　　In July 20xx， I obtained my BA in Computer Science from Shanghai Jiao Tong University。 My undergraduate record is excellent。

　　I have taken the TOEFL and the GRE Advanced Test。 My scores on the two tests are 630 and 980 respectively。 In addition， I have sufficient financial resources to meet my educational expenses。

　　I have always been interested in Computer Science。 I would appreciate it very much if you would send me the necessary application materials for graduate admission at your earliest convenience。

　　Yours sincerely，

學(xué)英語(yǔ)作文 篇2

　　part 1

　　Ways to Get Over Information Explosion As a popular saying goes, "A wealth of information creates a poverty of attention.

　　隨著信息爆炸的流行，人們說(shuō)：“信息的豐富性造成了人們的關(guān)注，如今我們正處于信息爆炸的時(shí)代。

　　" Nowadays we are in an era of information explosion.

　　越來(lái)越多的人抱怨他們?cè)谛畔�時(shí)代迷失了。

　　More and more people complain that they are lost in the information age.

　　誠(chéng)然，沒(méi)有人能否認(rèn)這個(gè)事實(shí)：新信息時(shí)代給我們帶來(lái)了如此多的便利，我們可以得到足夠的信息，只是用一個(gè)簡(jiǎn)單的點(diǎn)擊坐在電腦前。

　　Admittedly, no one can deny the fact that the new information age has brought us so much convenience that we are allowed to get plenty of information just with a simple click sitting in front of the computers.

　　盡管如此，我們也很困惑、不安、心煩意亂、心煩意亂的是一個(gè)令人難以置信的大量的信息。

　　Nevertheless we are also confused, annoyed, distracted and upset by an incredibly large quantity of information.

　　例如，在網(wǎng)上搜索的東西，人們很容易被誤導(dǎo)的不相關(guān)的信息，忘記他們的原始計(jì)劃。

　　For example, when searching for something online, people are easily misguided by irrelevant information and forget their original plan.

　　此外，一些信息往往是無(wú)用的。

　　Besides, some information often turns out to be useless.

　　因此，它可能是耗時(shí)和麻煩的搜索信息在線。

　　Therefore, it may be time-consuming and troublesome to search information online.

　　那么我們可以做什么來(lái)避免被不相干的信息分散?

　　Then what can we do to avoid being distracted by irrelevant information?

　　以下是一些有用的建議：首先，在你的搜索前，列出你想要的。

　　Here are some useful tips: Firstly, make a list of what you really want before your searching.

　　你可以通過(guò)這種方式避免一些有吸引力的，但不相關(guān)的信息。

　　You can avoid some appealing, yet irrelevant information by this way.

　　然后，找到一些可靠的和專(zhuān)業(yè)的來(lái)源或網(wǎng)站，然后保存和分類(lèi)。

　　Then, find some credible and professional sources or websites and then save and categorize them.

　　在這種情況下，你可以很容易地離開(kāi)一些廣告和無(wú)用的信息。

　　In this case, you can easily leave some advertisements and useless information behind.

　　part 2

　　The environment is usually changed to benefit human life.

　　環(huán)境通常是改變?nèi)祟?lèi)生活的利益。

　　Cars and roads make transportation fast and easy, factories make products that make our lives more comfortable, public services in cities like water treatment, electricity, and waste disposal make our lives more convenient.

　　汽車(chē)和道路使交通運(yùn)輸快捷方便，工廠生產(chǎn)的產(chǎn)品使我們的生活更舒適，在城市的公共服務(wù)，如水處理，電力，和廢物處理，使我們的生活更方便。

　　All of these advances, however, come with a significant environmental cost.

　　所有這些進(jìn)展，但是，有一個(gè)顯著的.環(huán)境成本。

　　Human activity does significant damage to the Earth.

　　人類(lèi)活動(dòng)對(duì)地球造成重大損害。

　　One of the main effects of human activity on an area is water pollution.

　　人類(lèi)活動(dòng)對(duì)一個(gè)地區(qū)的主要影響之一是水污染。

　　Dumping waste materials from human activity into rivers and streams is popular because the waste seems to disappear downstream.

　　從人類(lèi)活動(dòng)到河流和小溪的傾倒廢物的材料是流行的，因?yàn)閺U物似乎消失了下游。

　　The main sources of water pollution are factory waste, oil and gas runoff from highways, and untreated human waste.

　　水污染的主要來(lái)源是工廠的廢水、公路的石油和天然氣，以及未經(jīng)處理的人類(lèi)廢物。

　　When this waste dumped into rivers, the water downstream becomes undrinkable and unusable for agriculture, and also kills plant and animal life in the rivers.

　　當(dāng)這些廢物排入河流，下游的水就不能喝，不能用于農(nóng)業(yè)，并殺死植物和動(dòng)物生命的河流。

　　Clean air and water is a prerequisite not only for human life, but also for all life on the planet.

　　清潔空氣和水是人類(lèi)生活的前提，也是地球上所有生命的先決條件。

　　But air is now being polluted by modern transportation, notably gas-powered automobiles, as well as electrical generators that burn fossil fuels and pour polluting chemical waste into the air.

　　但是，現(xiàn)在的空氣污染正受到現(xiàn)代交通運(yùn)輸業(yè)的污染，尤其是天然氣汽車(chē)，以及燃燒礦物燃料的發(fā)電機(jī)，把污染的化學(xué)廢物傾倒在空氣中。

　　This makes the air much less healthy to breathe.

　　這使得空氣更不健康的呼吸。

　　The air-borne pollution also falls back to the earth in the form of acid rain, which destroys plant life and human buildings.

　　空氣污染的污染也以酸雨的形式返回到地球，這破壞了植物的生命和人類(lèi)的建筑。

　　Another serious long-term effect of air pollution is global warming.

　　空氣污染的另一個(gè)嚴(yán)重的長(zhǎng)期影響是全球變暖。

　　For the past several decades scientists have noted a disturbing rise in the average temperature of the earth that caused by the rise of greenhouse gases, air pollutants created by burning fossil fuels, in the atmosphere.

　　在過(guò)去的幾十年里，科學(xué)家們已經(jīng)注意到地球的平均溫度上升了一個(gè)令人不安的上升，溫室氣體的增加，燃燒礦物燃料產(chǎn)生的空氣污染物，在大氣中。

　　Scientists believe that if humans continue to increase the amount of greenhouse gases in the atmosphere, the temperature of the earth will continue to rise.

　　科學(xué)家認(rèn)為，如果人類(lèi)繼續(xù)增加大氣中溫室氣體的量，地球的溫度將繼續(xù)上升。

　　Eventually, this could melt the polar ice caps and cause devastating costal flooding all over the world.

　　最終，這會(huì)融化極地冰蓋和世界各地的沿海洪災(zāi)造成毀滅性的。

　　Major cities like Hong Kong, Shanghai, and Dalian might be totally destroyed.

　　像港、上海、大連這樣的大城市，可能會(huì)被徹底摧毀。

　　Therefore, I believe human activity has caused serious problems while it has improved the world in which we live.

　　因此，我相信人類(lèi)活動(dòng)在改善我們生活的世界的同時(shí)，也帶來(lái)了嚴(yán)重的問(wèn)題。

　　It is time to realize this hazard and take action to prevent further disaster while making progress.

　　是時(shí)候認(rèn)識(shí)到這一危險(xiǎn)，并采取行動(dòng)，以防止進(jìn)一步的災(zāi)難，同時(shí)取得進(jìn)展。

學(xué)英語(yǔ)作文 篇3

　　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4

　　I live in a new house now .There are three bedrooms, two bathrooms, a study, a kitchen, a dining-room and a large sitting-room. There’ a desk beside my bed. On the bed, there are some toys. There’s a map of the world on the wall. There’s telephone between the map and the bed .There’s a garden near my house. It’s a small one, but there are a lot of flowers and trees. In it there are some swings and there’s a slide, too, sometimes I go and play there.

學(xué)英語(yǔ)作文 篇5

　　My University——Fudan

　　No classical work could pervade every cubic centimeter of air with such cultural fragrance but she.

　　No judicious sage could merge various elements as a magnificent poem but she.

　　No green tree could consist of vivid cells arousing every heart's anxiety for being young forever but she.

　　She is my university Fudan University.

　　The first time I entered the campus as a freshman, I was deeply attracted by her cultural atmosphere and historical connotation. Fudan is a graceful lady who is accustomed to serenity but meanwhile each action of hers outpours her innermost tern perament. Apparently it is worth every effort to probe into her world for the sake of both physical and mental enrichment. Her humanistic spirit inspires me to care for everything around, even the most trivial one.

　　On the other hand, catching up with the times, Fudan is modern and smart. You see, the many age-old buildings here are actually great libraries and labs. Scientific and technological developrnent is easily smelt in the air,because she never lags behind the world.

　　Fabulously, such a historical and scientific school is far more than an operational mechanism. Her everlasting youth and vigor beam through every corner of the campus and the young in school vivify every piece of concrete and wood here. What makes me happy and strong is that it perpetuates me with unfading energy. And it is definitely beneficial for me to be granted enthusi

　　Another deep impression of my university is her creativity and profundity. As is known to all, she has a wide range and comprehensive style. No wonder I can enjoy the multi-ceolored life here. Every school year a diversity of competitions and aetivities are held and a large number of students take active part in them. I do appreciate such a style, and in my mind's eye, she resembles a tall tree silhouetting with all shapes of branches while stretching far into the blue sky.

　　Undoubtedly there is a world of difference between university and high school. University students are supposed to enjoy more freedom to develop themselves. However, Fudan seems more concerned about the efficient cooperation and teamwork among students as to prepare them for the competitive society. I believe upon graduation I will be equipped with abundant skills to face more unknown challenges.

　　After all, in my opinion, university is for more cultivated character, richer knowledge and greater abilities. That's why I chose Fudan. She provides me with what I've dreamed of.

　　Now all kinds of successes are in sight every day, and all I have to do is endeavor for a more beautiful future...

學(xué)英語(yǔ)作文 篇6

　　If I Have One Thousand Dollars

　　If I have one thousand dollars, I will buy some flowers for my teachers and my parents, because they teach me a lot.

　　If I have one thousand dollars, I will give some to the poor people and the poor children, let the children go to school and have a rich life.

　　If I have one thousand dollars, I will buy a lot of books for myself. Then I will call my good friends come to my house to enjoy my books together.

　　If I have one thousand dollars, I will set aside the money in the bank for the use in need of the future.

學(xué)英語(yǔ)作文 篇7

Dear Jenny,

　　How is your survey on mobile payment going? I’m glad I can help with it.

　　It is generally believed that China is the largest mobile payment market. Nowhere else is the cashless trend more obvious than in China. Most of us are used to paying by scanning QR codes whatever we buy—books, clothes, and electronic devices, to name a few, which is a glimpse into the life of most Chinese like me and my family.

　　With the widespread use of mobile payment, Wechat or Alipay is the most convenient and safest way to pay. We rarely need to carry a wallet or cash at all. Besides, never will we worry about getting fake notes or having to count change. In short, mobile payment has greatly changed people's life in China.

　　Personally, I think mobile payment should be encouraged. First, it has won over consumers with its convenience. Another advantage is that there are often discounts if you make mobile payment, as major online payment platforms are competing to have more consumers use their service.

　　I hope my explanation can be of some help to you. Wish you good luck.

　　Yours faithfully,

　　Li Hua

學(xué)英語(yǔ)作文 篇8

　　Victor Hugo said: “The most important quality for a man is kindness.” Why kindness is important?

　　法國(guó)作家雨果說(shuō)過(guò)：“人一聲最重要的品質(zhì)是善良�！睘槭裁瓷屏己苤匾�？

　　Kindness is one most important quality for human being distinguish from the animal. Without kindness, the human being will selfish, indifferent, no sympathy and have no difference from animal.

　　善良是人類(lèi)區(qū)別于動(dòng)物的最重要的品質(zhì)之一。沒(méi)有善良，人類(lèi)將會(huì)私自、冷漠、沒(méi)有同情心，與動(dòng)物無(wú)異。

　　There are many news about how people unfilial, hurt others maliciously, corrupted and many other immorality. Besides of they are lack of conscience, more important, they had no kindness. Kindness is to understand each other, care about others. A kind people would like to help others, he will accept the faults in a person. He would not hurt others, and always choose the right to do.

　　現(xiàn)在很多關(guān)于人民如何不孝、蓄意傷害他人、腐敗還有其他道德敗壞的'新聞。除了他們的良心缺失，更重要的是，他們沒(méi)有善良。善良是去理解他人，關(guān)愛(ài)他人。一個(gè)善良的人會(huì)樂(lè)意去幫助他人，他會(huì)接納別人的缺點(diǎn)。他不會(huì)傷害別人，而堅(jiān)持選擇正確去做正確的事情。

　　Kindness is important for not only people but also important to the country and the world. If countries have a kind heart, there won’t be wars, and the whole world can be in harmony which will benefit everyone.

　　善良不僅僅對(duì)人們很重要，對(duì)一個(gè)國(guó)家乃至世界都很重要。如果國(guó)家有一顆愛(ài)心，就不會(huì)有戰(zhàn)爭(zhēng)，整個(gè)世界都會(huì)處于和諧，利益全人類(lèi)。

學(xué)英語(yǔ)作文 篇9

　　Lung-Lung （Dragon-Dragon） liked his new house which was bigger and nicer than his old one, and he liked all his new neighbors, too. However, there was not one who was a little boy Lung-Lung’s size; he was a little upset about that. One day a big steam shovel came rumbling up the hill. It rumbled right into the empty site Across the street and started to dig a big hole.

　　Now lung-lung was so busy watching that he did not even notice when someone came and stood beside him, but he did notice when someone said, ‘See that big shovel? It is digging the ground for my new house！’ Lung-Lung looked to see who was talking, and it was a little boy just his own size！ ‘Good！’ said Lung-Lung. ‘Your new house will be opposite my new house’ and we can play together everyday.’