學(xué)英語(yǔ)作文

時(shí)間：2026-01-14 22:55:59 英語(yǔ)作文

【必備】學(xué)英語(yǔ)作文匯總10篇

　　在平凡的學(xué)習(xí)、工作、生活中，大家都嘗試過(guò)寫作文吧，作文是從內(nèi)部言語(yǔ)向外部言語(yǔ)的過(guò)渡，即從經(jīng)過(guò)壓縮的簡(jiǎn)要的、自己能明白的語(yǔ)言，向開展的、具有規(guī)范語(yǔ)法結(jié)構(gòu)的、能為他人所理解的外部語(yǔ)言形式的轉(zhuǎn)化。為了讓您在寫作文時(shí)更加簡(jiǎn)單方便，以下是小編收集整理的學(xué)英語(yǔ)作文10篇，歡迎大家分享。

【必備】學(xué)英語(yǔ)作文匯總10篇

學(xué)英語(yǔ)作文篇1

　　Directions: Write a letter of thanks according to the following situation. Once you were ill and were hospitalized for a few weeks in the Chaoyang Medical Center, Taiyuan, Shanxi Province. During your stay the entire staff were kind to you. When you came back home, you wrote them a letter of thanks.

　　Write your letter in no less than 150 words. Do not sign your own name at the end of the letter; use Li Ming instead. You do not need to write the address.

　　June 23, 20xx

　　Dear Sir/Madam,

　　I’m writing to extend my heartfelt thanks to all the nurses and doctors in your hospital.

　　Last month, while I was on a business trip in Taiyuan, Shanxi province, I suffered from a bad cold and a fever, so I was sent to Ward Rom 201, Chaoyang Medical Center. During my stay at hospital, nurses on duty patiently took my temperature, regularly examined my body, and often fed meals to me. In addition, doctors prescribed me the most effective drugs and gave the best medical advice. Thanks to the constant care from the hospital staff, I recovered quickly. Now that I have returned home, the excellent service of your hospital still impresses me. I believe that as patient, I have received the most professional treatment and the most considerate care.

　　Please allow me to convey my sincere greetings toward the doctors and nurses that contribute all their efforts, patience and energy to their patients. Nothing can express my gratitude except my best wishes to them. If you have anything that needs my help, please don’t hesitate to contact me.

　　Yours sincerely,

　　原因:

　　1.A number of factors are accountable for this situation.

　　A number of factors might contribute to (lead to )(account for) the phenomenon (problem).

　　2.The answer to this problem involves many factors.

　　3.The phenomenon mainly stems from the fact that...

　　4.The factors that contribute to this situation include...

　　5.The change in ...largely results from the fact that...

　　6.We may blame ...,but the real causes are...

　　7.Part of the explanations for it is that ...

　　One of the most common factors (causes .is that ...

　　Another contributing factor (cause .is ...

　　Perhaps the primary factor is that …

　　But the fundamental cause is that

學(xué)英語(yǔ)作文篇2

　　When I was alittle child, I had many dreams. I wanted to be rich, so that I can live in abig and beautiful house. I can go everywhere by car. But now, my dream seems tobe better and more realistic. I hope I can have a good job. It will not takemuch of my time, although I can’t earn much. Every year, I have holidays totravel. Traveling is my favorite and it can reduce my pressure. It’s good formy life. Therefore, I hope traveling can be a part of my future life.巴士英語(yǔ)www.xiao84.com

　　參考譯文

　　當(dāng)我還是個(gè)小孩的時(shí)候，我有很多夢(mèng)想。我想變得富有，這樣我就可以生活在一個(gè)美麗的.房子。我可以開車去任何地方。但現(xiàn)在，我的夢(mèng)想似乎是更好，更現(xiàn)實(shí)。我希望我能有一份好工作。它不需要很多的時(shí)間，雖然我不能賺很多錢。每一年，我的假期旅行。旅行是我最喜歡的，它可以減輕我的壓力。它有益于我的生活。因此，我希望旅行能夠成為我未來(lái)生活的一部分。

學(xué)英語(yǔ)作文篇3

　　School, more than a month of holidays, the dream of the past. Early in the morning, is sleeping in me, was the mother that familiar voice wake up, more than a few months did not wake up, I really could not bear my winter vacation life.

　　We have ushered in the new semester, in every new starting point, each of us will have a hope: tomorrow I will be more exciting. Therefore, I must be in the vision of a better future, showing their new semester to meet the new atmosphere. Today 's teachers and classmates are dressed up in their own, the office, the classroom are clean and clean, so to create a vibrant, peaceful and new weather. I believe that in this new meteorological infection and encouragement, I must make new progress in the new semester.

　　In the new semester, I have a new goal - do not do the language of the giant, go abroad to become the owner of the network! I know that success is not by dream to achieve, but by their own actions. Of course, in the new semester, in the study to have new achievements, which will make unremitting efforts! Pay an effort in exchange for a harvest. Learning is not an interest, but a responsibility, I should do and must do a good job, while learning will be a burden. There is no tired of the process, there will be no progress and promotion, whether it is the past, or the future is not the same reason? I put my joy, sadness are turned forward to the power and power, it will continue to overcome difficulties to achieve new progress. Success is our joy, success is our hard sweat, there is no hard work on how to harvest, there is no pay where the income.

　　Book Hill has a road for the trail, learn the sea without boundaries bitter boat. Toward their own goals, struggling to move forward! The new semester begins again, starts a new journey, raises new sails! I want to refuel, in the colorful primary school life, good learning, this is the sprint, for the new journey, there may be ups and downs, dangerous, I will overcome all difficulties to avoid all the shoals to reach the other side of success!

　　The first day of school, a new day; the first day of school, a meaningful day; the first day of school, a surprise and happy day; the first day of school, the perfect end, the new start!

學(xué)英語(yǔ)作文篇4

　　范文：Creating a Green Campus

　　Recently, with the idea of making and maintaining "a green earth" being the focus of the society, "green campus" has become a more and more popular concept in universities or colleges, which, undoubtedly, will bring us an ever-lasting benefit to both our campus and our society.

　　The concept of " green campus" does not only mean a green environment but also refers to an environmental sense in people's mind. Campus plays a crucial role in educating the young generation and the consciousness of " green campus" will definitely produce a profound effect on students' various environmental protection activities after their graduation. What's more, the young generation is under the burden of severe environmental pollution and there are many problems waiting for them to solve.

　　To make "green campus" come true, firstly, it is necessary to work out effective principles for the development of sustainable and recyclable campus. Secondly, it calls for people's awareness of the serious pollution around us and actual action to reduce the waste. Last but not least, it is necessary to strengthen the ties between campus and society, so as to ensure that "green campus" can work smoothly with the co-effort of the whole society.

學(xué)英語(yǔ)作文篇5

　　一、活動(dòng)宗旨

　　英語(yǔ)寫作水平是學(xué)生英語(yǔ)綜合運(yùn)用能力的集中體現(xiàn)，在中高考中占有十分重要的地位。為了提高全體學(xué)生對(duì)英語(yǔ)寫作的'認(rèn)識(shí)與興趣，為學(xué)有所長(zhǎng)者提供展示才能的機(jī)會(huì)，為參加各層次的英語(yǔ)能力比賽選拔人才，為教師加強(qiáng)個(gè)別輔導(dǎo)和提高教學(xué)成績(jī)創(chuàng)造機(jī)會(huì)，落實(shí)并彰顯我校第二課堂活動(dòng)特色，特舉辦我校第四屆學(xué)生英語(yǔ)作文比賽。

　　二、參與對(duì)象

　　本校全體初、高中學(xué)生。

　　三、比賽規(guī)則

　　1、活動(dòng)本著“自由思想，明白表達(dá)，獨(dú)立完成”的原則。各年級(jí)老師針對(duì)本年級(jí)學(xué)生實(shí)際情況確定寫作主題或體裁，要求內(nèi)容健康，積極向上，寫出自己的真情實(shí)感。

　　2、每人在規(guī)定期間內(nèi)現(xiàn)場(chǎng)完成一篇全英文寫作，要求作品必須原創(chuàng)，杜絕抄襲，字?jǐn)?shù)不少于150字（初中組）或300字（高中組）。

　　四、獎(jiǎng)勵(lì)方法

　　1、本次活動(dòng)要求各班學(xué)生人人參與，之后每班選拔5名優(yōu)秀選手代表班級(jí)參加現(xiàn)場(chǎng)作文比賽，由年級(jí)統(tǒng)一評(píng)比，設(shè)獎(jiǎng)比率為一等獎(jiǎng)20%，二等獎(jiǎng)20%，三等獎(jiǎng)20%，優(yōu)秀獎(jiǎng)若干名。

　　2、本次比賽活動(dòng)由新世界康橋贊助，提供技術(shù)指導(dǎo)與獎(jiǎng)狀獎(jiǎng)品。屆時(shí)將在學(xué)校報(bào)告廳舉行金岸中學(xué)第四屆“康橋杯”英語(yǔ)作文大賽頒獎(jiǎng)典禮暨英語(yǔ)沙龍。

　　3、組織部分優(yōu)秀學(xué)生作品代表學(xué)校參加“第九屆奧林匹克杯全國(guó)英語(yǔ)作文大賽”。獲獎(jiǎng)學(xué)生及指導(dǎo)老師均會(huì)獲得相關(guān)榮譽(yù)獎(jiǎng)勵(lì)。

　　五、日程安排：

　　1、20xx年3月26日（第七周星期三）各班動(dòng)員學(xué)生積極參加第四屆“康橋杯”英語(yǔ)作文大賽，并組織學(xué)生參加班級(jí)的英語(yǔ)寫作選拔賽，以確定代表班級(jí)參加學(xué)校第四屆英語(yǔ)作文現(xiàn)場(chǎng)比賽的選手名單。

　　2、20xx年4月2日（第八周星期三）每班選派5人于下午5:10---6:00在報(bào)告廳參加現(xiàn)場(chǎng)英語(yǔ)寫作比賽，由科組統(tǒng)一裝訂后分發(fā)年級(jí)老師交叉評(píng)分（采用二評(píng)，初中15分制，高中25分制）。

　　3、4月9日（第九周星期三）各年級(jí)組統(tǒng)計(jì)比賽成績(jī)，確定獲獎(jiǎng)等次，并將作文及名單匯總于科組整理備獎(jiǎng)。

　　4、4月25日下午5:10（第十一周星期五第八節(jié)課）在報(bào)告廳舉行頒獎(jiǎng)典禮暨英語(yǔ)沙龍活動(dòng)。

　　5、4月30日（第十二周星期三）按第九屆奧林匹克杯全國(guó)英語(yǔ)作文大賽要求上交參賽作品并郵寄（電子版）。

　　附：20xx學(xué)年全校各年級(jí)參賽名額分配如下：

　　1、第七屆國(guó)際英語(yǔ)電視大賽：初一20人；高一6人

　　2、20xx國(guó)際英語(yǔ)精英賽：初二18人；高二6人

　　3、第九屆奧林匹克杯全國(guó)英語(yǔ)作文大賽：初三18人；高三12人

　　主辦：zz（z）地產(chǎn)

　　承辦：z市金岸中學(xué)英語(yǔ)科組

學(xué)英語(yǔ)作文篇6

　　When it comes to November 11, what’s on your mind? Well, as to the old generations, it’s only an ordinary day; however,the young generations will consider it as the Singles’ Day as well as the on-line shopping carnival. In fact, on November 11th, 20xx, Tmall and Taobao(the biggest Chinese online shopping platform) has sold out more than 35 billion Yuan goods, this data has astonished the media at home and abroad.Apparently, people have more interests on cyber shopping than spend the night with their single friends. Some home media even suggest that November 11thshould be the Chinese on-line shopping carnival.

　　當(dāng)人們提到11月11日，你想到了什么？對(duì)于老一輩的人來(lái)說(shuō)，這一天和平常一樣；然而，對(duì)于年輕人來(lái)說(shuō)，這天不僅僅是“光棍節(jié)”，也是網(wǎng)絡(luò)購(gòu)物狂歡節(jié)。事實(shí)上，在今年的雙11，天貓和淘寶（中國(guó)最大的網(wǎng)絡(luò)購(gòu)物平臺(tái)）賣出了價(jià)值高達(dá)350多億元的商品，這一數(shù)據(jù)驚呆了國(guó)內(nèi)外的媒體。顯而易見，大家對(duì)網(wǎng)絡(luò)購(gòu)物的熱情超出了與單身好友共度“光棍”節(jié)的興趣。有些國(guó)內(nèi)的媒體甚至建議每年的11月11日應(yīng)該是中國(guó)的網(wǎng)絡(luò)購(gòu)物狂歡節(jié)。

　　In 20xx, Jack Ma, the CEO of Tmall andTaobao, had coined the term “Double Eleven”, aimed to encourage the single people to do something to celebrate their own festival. Instead of datinglovers, people go on-line shopping to relive the loneliness. According to the survey, China had 564 million Internet users at the end of last year and 180 million single people. And the single people are the main force of the China’s spending power. The debut was a great success. Then “11.11” has an unusual meaning, which stands for on-line shopping carnival.

　　在20xx年，天貓和淘寶的首席執(zhí)行官馬云，創(chuàng)造出了一個(gè)新詞：“雙11”，目的是為了鼓勵(lì)單身朋友去做些與眾不同的事情，以此慶祝他們自己的節(jié)日。沒有情人約會(huì)，那就上網(wǎng)購(gòu)物減輕自己的孤獨(dú)感吧。調(diào)查顯示:去年中國(guó)的網(wǎng)民有五億六千四百萬(wàn)人，其中有一億八千萬(wàn)的`單身漢。而這些單身漢正好是網(wǎng)絡(luò)購(gòu)物的主力軍。于是，“雙11”被賦予了不同的意義，那就是網(wǎng)絡(luò)購(gòu)物狂歡節(jié)。

　　Comparing with the traditional shopping,the cyber shopping has more distinguish features, which quite fit the young generations’ taste. People do not need to go outside, just click their mouse, the goods will be home. The best part is you can do it anywhere, anytime. All you need is acredit card. What we can predict in the future is that on-line shopping is not going to fade away, instead, it will boost like the mushrooms after springrains.

　　和傳統(tǒng)的購(gòu)物相比，網(wǎng)絡(luò)購(gòu)物有著更為明顯的特點(diǎn)，這更符合年輕人的口味。人們不需要外出，只需點(diǎn)擊一下鼠標(biāo)，商品就會(huì)送到家。最棒的是你可以在任何時(shí)間任何地點(diǎn)進(jìn)行購(gòu)物。你只需一張信用卡。我們可以預(yù)測(cè)到在將來(lái)，網(wǎng)購(gòu)不會(huì)淡出我們的生活，它就像雨后春筍，不斷增長(zhǎng)。

學(xué)英語(yǔ)作文篇7

　　The Code of Happiness

　　Last night, I read the news about a professor who wrote the paper 20 years ago. He did some research about asking people whether they were happy and he came up with the conclusion that happiness belonged to two kinds of people, they are the one who lived in peace and the other was who lived with great achievement. But 20 years later, he decided to revisit these people and he found that the conclusion about happiness he made before was wrong. Most people with great achievement felt not happy because they met setbacks. The professor came up with the new conclusion that the real happiness lies in the peaceful soul. This is the code of happiness.

　　譯文：昨晚，我閱讀了一則新聞關(guān)于一位教授20年前寫的一篇論文。他做了一些調(diào)查，詢問人們是否感到幸福，然后他得出結(jié)論，幸福屬于兩類人，那就是趨于平淡的人和取得非凡成就的人。但是20年以后，他決定重新去拜訪那些人，他發(fā)現(xiàn)他以前對(duì)幸福的結(jié)論是錯(cuò)的。大部有著非凡成就的'人并不感到開心，因?yàn)樗麄冊(cè)庥隽舜蟠煺�。這位教授得出新的結(jié)論，真正的幸福在于心靈上的平靜。這就是幸福的密碼。

學(xué)英語(yǔ)作文篇8

　　It is curious that our own offenses should seem so much less heinous than the offenses of others. I suppose the reason is that we know all the circumstances that have occasioned them and so manage to excuse in ourselves what we cannot excuse in others. We turn our attention away from our own defects, and when we are forced by untoward events to consider them, find it easy to condone them. For all I know we are right to do this; they are part of us and we must accept the good and bad in ourselves together.

　　令人奇怪的是，和別人的過(guò)錯(cuò)比起來(lái)，我們自己所犯過(guò)錯(cuò)似乎并不是那樣的不可原諒。我猜想，其原因應(yīng)該是我們完全清楚是什么導(dǎo)致了犯錯(cuò)，因此能夠找到理由原諒自己，卻找不到理由原諒他人。我們沒有正視自己的不足之處，當(dāng)我們陷入困境而被迫正視它們的時(shí)候，我們也會(huì)很容易就放自己一馬。就我所知，我們這樣做是正確的。這些缺點(diǎn)是我們自身的一部分，我們必須接受這樣的自己——一個(gè)并非十全十美的組合體。

　　But when we come to judge others, it is not by ourselves as we really are that we judge them, but by an image that we have formed of ourselves fro which we have left out everything that offends our vanity or would discredit us in the eyes of the world. To take a trivial instance: how scornful we are when we catch someone out telling a lie; but who can say that he has never told not one, but a hundred?

　　但是當(dāng)我們對(duì)他人作評(píng)價(jià)的時(shí)候，我們不是憑自己的真心來(lái)評(píng)判別人，而是以一種自我建立的形象為基礎(chǔ)來(lái)評(píng)判他人，這種自我形象完全去除了在世人眼中與自己的虛榮心或者名譽(yù)相沖突的事物。舉一個(gè)簡(jiǎn)單的例子：當(dāng)看出別人在說(shuō)謊時(shí)，我們是多么地蔑視他��！但是，誰(shuí)敢說(shuō)自己從未說(shuō)過(guò)謊？有的人撒的謊還不少。

　　There is not much to choose between men. They are all a hotchpotch of greatness and littleness, of virtue and vice, of nobility and baseness. Some have more strength of character, or more opportunity, and so in one direction or another give their instincts freer play, but potentially they are the same. For my part, I do not think I am any better or any worse than most people, but I know that if I set down every action in my life and every thought that has crossed my mind, the world would consider me a monster of depravity. The knowledge that these reveries are common to all men should inspire one with tolerance to oneself as well as to others. It is well also if they enable us to look upon our fellows, even the most eminent and respectable, with humor, and if they lead us to take ourselves not too seriously.

　　人和人之間沒什么大的不同。他們皆是組合體——偉大與渺小，善良與邪惡，高尚與卑劣。有的人個(gè)性較強(qiáng)，或者機(jī)遇較多，因而在這個(gè)或那個(gè)方面，他們能夠更自由地發(fā)揮自己的`天資，但是人類的潛能卻都是一樣的。對(duì)我來(lái)說(shuō)，我認(rèn)為自己并不比大多數(shù)人好一些或者差一些，但是我知道，假如我貫徹執(zhí)行了我生命中每一個(gè)行為和每一個(gè)掠過(guò)我腦海的想法的話，世人將會(huì)把我視為一個(gè)道德敗壞的怪物。這種認(rèn)識(shí)——每個(gè)人都會(huì)有這樣的怪念頭——應(yīng)當(dāng)能夠?qū)ξ覀儺a(chǎn)生啟發(fā)：寬容自己，也要寬容他人。假如因此我們可以在評(píng)價(jià)他人時(shí)不太嚴(yán)苛——即使是世間最杰出和最令人尊敬的人，而且，假如我們也因此不對(duì)自己自視過(guò)高，那就挺好的。

學(xué)英語(yǔ)作文篇9

　　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10

　　Jims family

　　吉姆的家庭

　　小作者的桌上有一張吉姆一家的照片，小作者介紹了照片上的每一個(gè)人，以及他們各自的工作。

　　A picture is on my desk. This is a picture of Jims family. The man is Jims father. A woman is behind Jim. She is his mother. They are teachers. A girl is in the picture, too. She is Jims sister. Her name is Kate Green. Jim and his sister are in the same school. They are English.

　　【參考翻譯】

　　一幅畫是我的桌子上。這是吉姆的家人的.照片。這名男子是吉姆的父親。一個(gè)女人的背后是吉姆。她是他的母親。他們是教師。一個(gè)女孩是在畫面她是上，她是吉姆的妹妹。她的名字是凱特格林。吉姆和他的姐姐都在同一所學(xué)校。他們是英國(guó)人

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