1、首先大家要清楚一般作文的给分分为0分，2分，5分，8分，11分和14分这几段。所以给改卷老师的第一印象很重要，可以直接影响给分的分段。那么怎么样能给老师一个很好的印象？大家首先一定要注意自己的书写工整干净，还有一定要写出一个清楚的三段式。如果写一段最多得到4-5分，如果写了2段最多也只能得到6-7分。所以作文的框架和书写是让老师给你一个不错分植段的关键之关键。

2、做好了上面的要求之后，改卷老师就会重点看这三个地方，在第一段的最后一到两句话有没有清楚地给出文章的中心句。接着就会看文章的主题第二段有没有清楚的次观点来支持说明文章的中心句，这时还会重点找一些连接词和过渡词，他们使支持次观点从结构上清楚的展现。最后就会看最后一段的句首部分有没有表示文章结束的过渡词和对文章观点的再次陈述。在这个部分就要求大家一定要对作文的常考形式说明文，议论文还有书信这几中问题最起码的结构要很清楚，怎么开始，怎么写主体部分，怎么结论要一个很好的结构了解。

3、老师在改卷的时候会重点注意句子语法错误，所以大家一定尽量少的语法错误。即使句子简单，只要错误少，也能得到不错的分数。还有如果可能的话可以用一些短语，比较好的词来换掉一些比较普通词语，这样也能提高分数。但是如果大家对这些词没把握的话，就最好用自己熟悉的词，即使很简单也没很大的关系。

总之，如果大家要取得更好的成绩，最快最好的方式就是要注意自己文章的书写以及整体文章的清楚结构，即使不会使用很多不错的词组和短语，也达到不错的效果。

大学英语a级作文篇2

mama,that summer,on the way to klitsemi,my straw hat flew down the mountains.mama,do you remember,the old straw hat you gave to me ？

i lost that hat long ago, it flew to the foggy canyou. mama,i wonder what happened to that old straw hat which fell down the mountain-said and whirled out of my reach like your heart. suddenly that wind came up,stealing my hat from me. swirling gust of wind blew it higher ，and higher 鈥︹？mama,that old straw hat was the only one i really love.but i lost it,no one could bring it back,like tha life you give me.

mama,that summer,on the way to klitsemi,i lost me straw hat.the lilies along the road wilted.and under that straw hat,the crickets wept every night ？

上面内容就是一秘为您整理出来的10篇《大学英语作文》，希望对您有一些参考价值。

大学英语a级作文篇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.

大学英语a级作文篇4

today’s college students face choices unheard of years ago. terms like two way selection, self-employment are not new to them. many students swarm (蜂拥) into job market or look every talent fair (人才交流会) for potential employers. the concept of selling (推销) oneself rather than hiding oneself is well accepted by students.

hunting a job is no small matter. instead, it is probably one of the most, if not the most, important decisions any of would-be graduates can make in a lifetime. therefore, they are very serious and cautious when that time comes. it is something that the society has taught them.now more and more students lose their jobs when they graduate from school. it's easy for some students to find work. but the fact is that some students think the salary is so low that they don't want to do the job, they except to find a easy work with a higher salary.

like the reason above,some jobs have nobody to do it ,but somebody is free with no job.

as the job market gets shrinking, it has also become a must for undergraduates (在校本科生)to work harder than before to keep their competitive edge (保持竟争地位). more students are engaged in their studies with no distractions (分心，干扰). they are investing today for a promising (大有希望的，前途无量的) tomorrowas far as i'm concerned, those students who want to find a higher salary but have no better job to do should be do a easy work from basic.work hard on ,i believe through their hardwork they'll get a better job soon.

大学英语a级作文篇5

i am a sophmore of nanchang university。now i want to introduce to you guys about my university。it has a long history back to the fifties of last century。

as it locate far away from the city center ，the most prosperous place，you may think the traffic is totally unconvenient，then you are wrong，instead of unconvenient ，there are a lot of transportation tools that will take you to where you want to go at any time。when it going to say about facilities and faculites，i will say they are excellent and helpful。i cherish friendship and like to make as many friends as i can and i found out that the students there are have a heart of gold ，and are hospital。so，that's my university，it is not the best one but i still love it 。i can foresee that i will enjoiy my life on campus from now。

大学英语a级作文篇6

should retirement age be postponed?

1. 近年来，推迟退休年龄引发人们热议

2. 推迟退休年龄有利也有弊

3. 我的看法外语学习网

based on a recent survey on the internet, a majority of individuals admit that aging society willbring a variety of problems to their life. along with the trend of longevity, it has become a trendfor people to debate whether it is wise to postpone retirement age.

some people favor postponing the retirement age. in their eyes, it is this policy that enables theaging society to build up enough work-force. as a matter of fact, people in mounting numbershave come to realize this problem in an aging society. even so, others hold a different view thatpostponing retirement age carries some risks. this policy can bring old people stress, but cannotarouse their enthusiasm for work, and cannot help them to enjoy their retirement pension.

i am convinced that we should balance old people interest and this aging society. thus, if thoseseniors have enthusiasm for work, we should educate, advocate and encourage them to work andperform their tasks. if we try our utmost to do so, the future of old people life will be promising, hopeful and rosy.

大学英语a级作文篇7

一、熟悉和研究历年真题，熟练背诵所考作文的几种模板

背什么东西呢?很多同学会想到，就是背模版。模版这个东西是可以背的。

我们一般地来讲会把6级的作文分成5种类型，那也就是至少有5篇文章可以作为模版去背诵。

背模版又可分成5个档次：

1、最不好的其实就是没有背模版，自己还没有好东西，那叫“手中无剑，心中也无剑”，就是属于“裸考”，属于“等死”的档次。

2、比较好的，比这个好一点的是背模版，没有背好，没有用对地方，仅仅是第2档次，也就是“手中有剑，心中无剑”。

3、更好一点儿的是第3档次，就是背准了用对了，手中心中都有剑，但其实还不是最好的。

4、第4档次，就是大家更应该追求的，有自己的写法，模版的句子也可以变。

其实考过4级的同学，你在4级模版里面背的句子，6级作文同样可以用。还有，不管4级还6级的模版，你都可以把一些词儿变成自己的，有自己的写法，这个才是最应该追求的，就是“手中无剑，但心中有剑”。

5、其实还有第5档次，第5档次不用追求，它名字等于第1档次，仍然是“手中无剑，心中也无剑”，那是种超凡脱俗超然世外的心态，那就是不考。

其实我们都到现在了肯定是要考，要考就是要上战场，要上战场就得有剑。最好有自己的剑，实在不行再用我给的剑。这就是对我们背套句的态度。

二、提高作文分数，除了背套句，要有自己发挥的内容，需要背话题词、常见词

其实背诵还包括更多的东西，因为除了套句之外，毕竟有一些东西是要靠自己写的。套句再多也就占这个文章的1/3到1/2。只有极其个别的，比如说像休职信/辞职信，那可能模版句能占到80%到90%，可是这种东西它既然能够总结出这么多现成的模版，出题人是不太愿意出的。大家都可以背，背了就可以写得好，改卷人看着那么多一样的卷子他不好打分，所以考的可能性不是那么大。那么更多的具备可考性的作文是没有那么多模版可以背的，毕竟要有自己写的地方。那么改卷的人，尤其是比较熟练的改卷的人，他就不看你的模版句了，你背对了也没有太大的用处，只不过比你写错了要强一点儿。他真正看的是你自己写的地方怎么样。

大学英语a级作文模板7篇相关文章：

大学英语a级作文模板7篇