學(xué)英語作文

時間：2026-03-25 12:48:15 英語作文

(集合)學(xué)英語作文7篇

　　在我們平凡的日常里，大家都不可避免地要接觸到作文吧，借助作文人們可以實現(xiàn)文化交流的目的。相信寫作文是一個讓許多人都頭痛的問題，下面是小編精心整理的學(xué)英語作文7篇，歡迎閱讀，希望大家能夠喜歡。

(集合)學(xué)英語作文7篇

學(xué)英語作文篇1

　　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2

　　Teachers often get a chance to evaluate their students. Now the situation has changed. Schools allow students to evaluate the work of their teachers. This causes discussions about whether teachers should be evaluated by students. The views vary from person to person, and I prefer to say yes to this act because it provides a good way for teachers to learn their disadvantages and improve the quality of teaching.

　　Firstly, it’s a good way for students to express their opinions about teachers and lectures. From the expression, teachers can learn their advantages and disadvantages, which is important to improve their teaching skills. Secondly, students often evaluate teachers by doing some questionnaires, which are questions and selections on the paper, ranging from teachers skills to homework arrangement. Teachers can get much useful information from these questionnaires. Besides, the evaluated result will be submitted to school leaders who will judge whether the teacher is qualified or not. Finally, students will be motivated to pay more attention during classes and to listen to lectures more regularly, since they will be asked to give their own opinions about what they’ve heard. Of course, when students do the evaluations, they should be objective and impartial so that the evaluated result can be more useful and persuasive.

　　From what has been discussed above, we may confidently come to conclusion that teachers should be evaluated by students.

　　老師經(jīng)常有機會評價學(xué)生�，F(xiàn)在情況以及發(fā)生改變了。學(xué)校允許學(xué)生對老師的工作進行評價。這引起了關(guān)于學(xué)生該不該對老師進行評價的討論。每個人的觀點各不相同，我覺得應(yīng)該，因為它給老師提供了一個從他們的.缺點中學(xué)習(xí)并提高教學(xué)質(zhì)量的好方法。

　　首先，這是學(xué)生表達(dá)他們對老師和課堂的看法的一個好途徑。從反饋中，老師可以從優(yōu)點和缺點中學(xué)習(xí)，這對提高教學(xué)技能很重要。其次，學(xué)生通過有問題和選擇的問卷對老師進行評價，問題從教師技能到作業(yè)布置不等。教師可以從這些問題中得到更多有用信息。此外，評價結(jié)果會交給學(xué)校領(lǐng)導(dǎo)，他們會判斷老師是否合格。最后，學(xué)生會更有動力，課堂上更注意聽課，上課更有規(guī)律，因為他們會被提問對所聽到的給出自己的觀點。當(dāng)然，學(xué)生評估的時候應(yīng)該客觀公正，這樣評估結(jié)果才更有用更具說服力。

　　從以上的討論我們可以有信心地得出結(jié)論，老師應(yīng)該被學(xué)生評價。

學(xué)英語作文篇3

　　The world is not only hungry, hut also thirsty for water. This may seem strange to you. since nearly 75 % of the earth's surface is covered with water. But about 97% of this huge amount is sea water, or salt water. Man can only drink -and use the other the fresh water that comes from rivers, lakes.underground- and other sources. And we cannot even use all of that, because some of it is in ihe form of icebergs and glaciers. Even worse, some of it has been polluted.

　　However, as. things stand today, this small amount of fresh water, which is constantly being replaced by rainfall, is still enough for us. Hut our need for water is increasing rapidly almost day by day. Only if wc take steps to deal with this problem now can wc avoid a severe worldwide water shortage later on. A limited water supply would have a bad effect on agriculture and industry. Let rne give you just one small example of how necessary water is to industry. Did you know that to produce a single ton of steel, il takes about 91*000 liters of water?

　　We all have to learn how to stop wasting our precious water. One of Ihe first steps wc should take is to develop ways of reusing it. Experiments have already been done in this field, but only on a small scale. For us. the systems are as important as the spacecraft.

學(xué)英語作文篇4

　　Did You Use Sun Cream In the Right Way

　　When summer comes, every girl will paste sun cream, in the purpose of protecting their skin. It is said that the one who has the red or blond hair and the white skin has more chances to get skin cancer if the person is exposed in the sun for a long time. Using sun cream in the right way can better protect themselves.

　　夏天到來的時候，每一個女孩都會涂上防曬霜，目的.是保護她們的皮膚。據(jù)說如果長時間在太陽底下暴曬，紅發(fā)、金發(fā)跟白皮膚的人更容易得皮膚癌。正確使用防曬霜可以更好地保護自己。

　　Though most people use sun cream, less people use it in the right way. People get use to paste sun cream and then go out of the house immediately. This is the wrong way. Sun cream should be pasted at least half an hour ahead before you are exposed to the sun. People also need to paste it every few hours, because the sun will dry sun cream and let it lose its function.

　　盡管大多數(shù)人都會使用防曬霜，但是很少人用對了。大家習(xí)慣于涂上防曬霜后立即走出房子。這是錯誤的方式，防曬霜應(yīng)該要在出去曬到太陽前半個小時就要涂了。而且還需要每隔幾個小時就補涂，因為太陽會把防曬霜吸干，失去功效。

　　Even though we know how to better use sun cream, it is not good to be exposed in the sun for a long time. In Australia, people are also called to put on clothes and hat on the beach. Only in this way will we reduce the chance to get skin cancer.

　　盡管我們知道了如何更好地使用防曬霜，但是長時間暴露在陽光下是不好的。在澳大利亞，在海灘時大家都會穿防曬服、帶帽子。只有這樣我們才會減少遭受皮膚癌的機會。

學(xué)英語作文篇5

　　It’s Sunday tomorrow .I’m going to the bookstore with my friends

　　tomorrow morning .We are going to look for some good books .We all like reading books .We are going to eat our lunch at the restaurant. I like chicken, beef and vegetables .After lunch, we are going to the Summer Palace by bus. We are going to play near the Kunming Lake. Maybe we are going to row a boat on the lake .Wow, that will be relaxing. We are coming back at 5pm.

　　【要領(lǐng)點評】怎樣才稱得上是“美好的一天”？有兩點不能忘記，一是安排得充實，二是安排得有意義。這兩點小作者無疑都想到了，上午去書店看書買書，中午在飯店吃飯，下午去頤和園玩耍、劃船，豐富多彩！文章以時間為線索，敘述清楚，文筆也很優(yōu)美。小朋友們在寫這種敘事的文章時，要盡量給讀者交代好時間、地點、人物和活動等，使文章有血有肉。要看好是寫過去發(fā)生的'事情，還是現(xiàn)在正在做的事情，或計劃、打算要做的事情，以選擇適當(dāng)?shù)木湫汀Ｈ绻菍憣淼氖虑�，那么就要注意在表述時多用“be going to+動詞原形”這種句型。還有一點也很重要，那就是故事的線索要交代好，讓讀者在閱讀時對整個過程一目了然。

學(xué)英語作文篇6

　　Hi, my name is Hu Haiyue. I am in Class 1 Grade 4 . I have many clothes. I have a blue shirt and blue trousers. I have many colorful clothes too.

　　I like my yellow sweater with white skirt best. There are some red flowers and blue butterflies on the sweater. There are three cats on the skirt. Oh, how beautiful they are!