【实用】大学英语作文汇总5篇
在我们平凡的日常里，许多人都写过作文吧，作文是一种言语活动，具有高度的综合性和创造性。写起作文来就毫无头绪？下面是小编收集整理的大学英语作文5篇，欢迎阅读与收藏。
大学英语作文 篇1
Nowadays, some students believe that entering a top university is not that necessary, because some of the successful businessmen like the Alibaba’s founder Ma Yun and QQ’s founder Ma Huateng have nothing to do with the top university. Actually, top university have its own advantages. First, you can meet the excellent people there. The friends you make maybe your business partners in the future and the teachers are with higher level, which can pass you the advanced konwledge. Second, though the textbooks for every university are almost the same, but top university teaches students with different methods. It pays attention to cultivate students with critical minds and pratical ability. The thesis is very strict for students, when they pass it, they will cry with happiness, because they are admitted by the professors. When the students graduate from top university, they have made a different.
如今,一些学生认为进入一所顶尖大学学习并不是必要的,因为一些成功的商人像阿里巴巴的创始人马云和QQ的创始人马化腾都与顶尖大学无关。实际上,顶尖大学有自己的优势。首先,你可以在那里遇到优秀的人。你的朋友也许是你将来业务的.合作伙伴，而且老师更高的水平,这可以传授你先进的知识。第二,尽管每个大学的教科书几乎相同,但顶尖大学教学生用不同的方法。它注重培养学生批判性思维和实际能力。论文对学生要求很严格,当他们通过了,会幸福地哭起来,因为他们得到了教授的承认。当学生从顶尖大学毕业的时候,他们已经有所作为。
大学英语作文 篇2
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.
大学英语作文 篇3
As manipulation of the policy of Family Plan in the 1980s, today, there are so many children are the families’ only child, they are being the emperor and the princess.
Because the family spoils them so much, they can get what they want, parents do everything for them, so the children become dependent. There is a big problem in the education from parents, they should not spoil their children, let them to be independent. First, parents should not do all the things, they should ask the kids to finish on their own, parents can lead the kids to finish.
Second, parents try to create some chances to exercise the kid. They can ask the kids to clean the house, parents can give small money.
大学英语作文 篇4
in greek mythology there is a story of a bandit named procrustes who fitted each of his victims to an iron bed. if he was too short, he stretched him on a rack; and, if he was too long,he amputated his legs at the right point. he insisted that no one was an early proponent of standardization.
but he would be amazed to find in us, centuries later, a similar uniformity. just as procrustes insisted on conformity to his particular height, so modern society has insisted on conformity to a particular level the average. perhaps you have noticed in your life, as l have in mine, the readiness with which we chinese accept the common and the ordinary, and the skepticism with which we regard the different and the superior. the individuality we often ridicule; but the parrot we applaud.
today many kindergarten hobbyhorses are placed out of bounds, now that school consultants are convinced that they don＇t develop the "group spirit". today＇s teacher often stresses the necessity of "adjustment to the group", never questioning whether it is of any value. no wonder so many si-year-olds already have a phrase, "he thinks he＇s big," to indicate their intense dislike of anyone different from them.
in many parts of our nation, educators concentrate so heavily on providing equal opportunity for all students that they sometimes neglect to provide special opportunity for the above-aver age. we often grade eam papers on the basis of the average level of accomplishment. we even cross out from the tetbooks the words with which the average students are not familiar. in some places citizens go so far as to term special classes for etraordina student, then, is usually mocked rather than admired.
dangerous as this philosophy may sound, another aspect of it is far more serious. for modern society not only urges children to become a part of the crowd, but encourages adults adjustment as well.
job seekers may find, for eample, that some corporations make it a policy not to employ graduates of honors, for fear that they will not be "good miers".
advertisers persuade us to buy "the cigarette most people smoke", "the most popular car in its field". they find that we are often tempted by the items other people like, so they tend to take advantage of our desire to have that others have,to do what others do.
our ealtation of the average is evident also in modern politics. pohtical office seekers, all too often, have only to boast that they are "simple, ordinary, uneducated men", and we accept them.they have convinced us they are average. it is as though, in an age crying for eceptional leaders, we have made the prime requisite for leadership the inability to lead.
unfortunately, all these are true. they eist in our lives along with others. they typify the chinese demand for normality,for social acceptance, our glorification of the common man to the etent that he can be none other than common.
of course, we offer scholarships to outstanding students;we run contests; we engage in competitive sports. indeed, we chinese, living in a highly competitive nation, have much of the needed motivation with which to encourage ecellence. but we still ridicule intellectual superiority and often attach a social stigma to high accomplishments. we think it healthier for a child to be average.all these facts may counterbalance our present struggle for a better future.
our solution, then, must deal primarily with an inner attitude on our part. for this is obviously not a problem that can be solved by passing a law or by the action of a single organization.this is a problem deeply involving the emotions and ambitions of many people. if the source of the problem is deep within man,its solution must begin with him, too.
i do not ask for a nation of non-conformists. i realize that in a comple society men must learn to live with each other. for that reason, adjustment is essential but i do hope for a nation of thinkers who realize their own abilities and strive to fulfill them,who make their own decisions and think their own thoughts.
we will achieve our objective if we someday reach the stage where a man can stand on his own feet and claim that he is his own true master.
大学英语作文 篇5
Though there are all kinds of commercial ads to advocate girls to make up and make themselves look as beautiful as the models, most girls are educated that the real beauty is from inside instead of outside. So some of them are very proud of not making up and staying the way they are, but the new idea is that make up is a manner.
In the traditional view, make up is not a good girl will do, only for the bad girl who tries to seduce a man. What’s more, parents implant the idea to the girls that make up will make them look older. So most girls have the wrong idea about make up, some even feel shameful to talk about it.
Actually, in the modern society, make up is just a way of manner. But, the make up we talk about is light type. We need to shape our eyebrow and color our lips with light color, which makes us look tidy. Hair is also needed to clear up and the clothes we wear should be adjusted by different occasions.
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