directions: suppose you are the dean of the history department, peking university. you want to invite professor herb jason, a well-known scholar of chinese history, to come to attend an international conference on chinese history. you’ll cover the following points:

the purpose of the invitation

the time and place of the conference

ask him a favor of presenting a lecture to your students during his stay

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 professor herb jason,

i am li ming, dean of the history department, peking university. i am writing to invite you to participate in an international convention that is to be held in beijing from 22th to 25th, july, 20xx.

since your visit in beijing last year, all the teachers that attended your lecture have been deeply impressed with your thorough knowledge and profound understanding of the subject. we would be pleased if you could come, as our guest of honor, to the international conference on chinese history, if possible, would you please deliver a speech on whatever subject that interests you. enclosed in this letter is a time schedule for the event. you would, of course, receive our standard honorarium to cover traveling and other expenses. when you arrive in beijing, i will certainly meet you at the airport.

please let me know your date of arrival if you can come and tell us when you can make the trip. if you have any questions, please don’t hesitate to contact me. look forward to your reply.

yours sincerely,

li ming

大学作文篇2

friends play an important part in everyone’s life.

some people make friends for their own benefits.

a friend in need is a friend in deed.

1)friends influence your development, maturity and sense of responsibility.

2)these people are not reallyfriends. they only want to be your friends if it

is to their advantage. by this time you should know who are your true friends.

3)a true friend is eager to help you whenever necessary. you can consider yourself very lucky if you have one true friend. you and your true friend have a good understanding of each other

大学作文篇3

时刻悄然地从指缝间溜走了，不知不觉地。昨日我们还是满脸稚气的新生，这天却俨然成了别人眼中的老大哥老大姐了，而明年我们就要毕业了。毕业班的我们，功课依然很多，甚至比以往还要多一些，于是我们有些不乐起来。虽无可奈何着，但课照旧是要上的。我喜爱在一些无关紧要的课堂上，一个人静静地坐在角落里，或发呆，或看文学书，或涂鸦文字。我写文字的时候，不仅仅在写别人的生活，而且也写自己的生活，但更多的是关于自己的情绪故事。我常能自鸣其乐，正因没人打扰我，没人管我听课不听课。且不好把我看成是一个坏孩子，女生眼中的坏男孩，其实我还是知道事情大小轻重的。我会有选取地去听课，如果听起课来，也是十分的认真。我们平时上的以理论课居多，可想而知，那是多么的枯燥无味，上课时难免有些人要昏昏欲睡了。当然，这不能全怪老师，如果真的想学，那还怕学不好吗？有句话说得好，上天是不会眷顾那些毫无准备的人。有人常抱怨着说，某些老师很无趣，没什么魅力，他们总是照本宣科，照此下去我也能够当老师了。话虽如此，但你还没有资格当老师，没人听老师的课，自然谁又愿意听你的呢。既然来了，就心安理得地学点东西吧，我对自己说。但突然有一天，我又在怀疑自己了，我到底是不是一个好孩子呢？我没能回答我的问题，别人也就更不可能回答了。

暑假呆在家里的时候，一个没有读过书的大人问我念的是什么学校。福建工程学院，我如实地说。他的脸上露出了羡慕的表情，将来搞建筑的，前途好啊。但我不是学建筑学的，我苦笑着说，可我学的是计算机专业。他忙说道，计算机也不错啊，还是能挣大钱的……我沉默了，也不想再听他说什么了。我心里清楚，我的书念得不好，甚至是一塌糊涂。那些什么程序代码，犹如一条条水里活蹦乱跳的鱼儿，在我眼前晃来晃去，看似好看，却总是抓不住抓不牢。又好像天空中漂浮的云朵，捉摸不定。唯一值得我安慰的是，至今我还没有挂过红灯笼。虽然也拿过一次奖学金，但也是偶然的。我又是怎样一个人啊，总是在得意的时候把尾巴翘得高高的，还来不及收回的时候，却什么也没有了。

大学是什么？我以为，它就是我们人生旅途中停留过的一个完美的驿站。在这个驿站里，有着来自四面八方的人，一批批的人来了，又一批批的人走了，却永不回头。有人只是来歇歇脚，有人却从那里看到了大千世界。我们来过这驿站，在芸芸众生中，我们将留下了什么，又带走了什么呢？大学又像是一个炼钢炉，炼出的钢有合格的，又有不合格的，甚至有的钢容易生锈，有的钢是不锈钢。炼出来的钢，到底哪一块是属于自己的呢？有人说，大学教会了我们如何去做人，大学让我们拥有了完美的感情时光，大学使我们学到了很多有用的知识……毫无疑问，这是一个卧虎藏龙的地方，同时也是一个鱼龙混杂的地方。

关于感情，我没有发言权，正因我没有真正的谈过一次恋爱。一个舍友曾这样说道，谈恋爱很累很难受。我知道这是一句不经意流露出来的话，带有玩笑性，只是他没有把完美的一面说出来而已。我想，恋爱的感觉犹如茶的味道吧，有枯涩，有甘甜，却又耐人寻味。感情是完美的，令多少未曾谈恋爱过的人企羡不已。正值韶华时光的我们，或许太过于孤独寂寞了，或许渐渐有了青春的萌动，或许憧憬着完美的未来，于是渴望着一场轰轰烈烈的感情。有人说，大学里没有谈过恋爱，是一件多么遗憾的事。我行将毕业，看来在大学里，我的感情梦想是要落空了。

在舍友中，小蔡喜爱下棋，常杀得昏天暗地，慵哥着迷于小说，能不分昼夜看完一部又一部。而我，想写点文字，却不能写得那样的从容与潇洒，也不是什么时候都能够写得出来。我有点悲哀地发现，我身旁的同学钟情于文学的，很少，少到几乎没有。当我写下“我的大学生活”这个题名时，我知道这将是一篇冗长的文章，回过头来看看敲打过的文字，杂乱无章，我开始担心了起来，这篇文章又要写坏了，然而我没有勇气重新写过。此刻写作的人很多，无病呻吟的文章亦是数不胜数。我也害怕过，我写的文章只是那无病的呻吟，资料的乏味以及思想的空洞。假如果真如此的话，要么我改过，要么我这一辈子再也不写了。闲言少叙，还是说点实在的吧。

大学校园无疑是一个大家庭，所谓“林子大了，什么鸟多有”这样的话也不无道理。各人性格迥异，“观听殊好，爱憎难同”，因此朋友要合到一处来也不是一件易事。但臭味相投的朋友也是有的。即便成不了朋友，也不该寻人短处，记恨于对方。我妈常对我说的一句话是，要与人为善。我把这句话记在了心里，多年来不敢忘记。想想我们一生中能结识的朋友能有几人，我们就会懂得去珍惜。“花开堪折直须折，莫待无花空折枝”，说的是要珍惜时光。我们要像珍惜时光一样珍惜朋友，要不然，时刻一过，朋友也已离去，那时就追悔莫及了。

大学作文篇4

we should balance our love

nowadays it is common to see that many parents focus their attention on their children, but leave their own parents without proper care. the most typical example is the phenomenon of empty nest seniors. this problem has aroused the public concern and has become the hot topic of many discussions.

paying little attention to older parents can have serious consequences. first, the elderly often feel lonely and depressed if there is no child with whom they can talk, and this can have a bad effect on their mental health. second, the aged parents with no children by their sides can have a lot of trouble in their daily life due to disease or old age.

in my opinion, we should take the following measures. children should be encouraged to live with or near their old parents, which is very helpful for them to know their parents, concern and attend their daily life. and it is also necessary for them to create chances to communicate with their aged parents. besides, our govemmeiit should strive to establish the service system for the elderly and expand its social insurance coverage among them.

大学作文篇5

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.

大学作文篇6

时间真的是过得特别的快，转眼之间，我历经了高考的检验，然后顺利的进入了大学，然后成为一名大学生，可是在成为大学生我们要上的第一堂课就是要参加军训。

而面对军训，我们是知道的，毕竟这也不是第一场军训了。可是感悟却是不一样的，以前只是觉得累还有佩服，可是这一次却不一样了，我们除了累，除了佩服，还有的就是感动，甚至还有一些觉得佩服。

穿上军训的衣服，踏进军训的宿舍的时候，我想我就准备好了接受这一次的军训磨砺，准备好了接受大学生活的开始。当我看见我们的教官站在我们的面前的时候，我不禁在脑海中想想，他和我以前的教官应该是一样的吧!一样的经历了风雨的洗礼，经历了烈日的烘烤。

和以前的军训一样，我们还是在烈日下面被烘烤，还是汗流浃背，还是不断地奔跑，还是超负荷的锻炼。可是我已经不再像以前一样总是想着放弃，而是开始想着坚持，更开始想，教官他们每天过的都是这样的日子，甚至比我们训练的还要多，人家能坚持而我为什么不能坚持呢?我们之间差的是什么呢?并不是很多啊!他们最开始也是在我们这个年代接受训练的，所以人家能坚持下去，我们为什么不能，而且我们还只是这样训练一段时间呢!

而这一次的军训则是让我对人生的再一次的感悟，我开始觉得没有什么事情是不能坚持下去的，然后好好的完成的，学习也是这样的，我要努力的，不放弃的学习。这样最后才能站的更高一些，军训其实也就是对我们做的这样的一个暗示，我想这也是把军训放在大学开始的时候。

军训的这一段时间是很充实的，每一天的训练都是紧贴的，每一天都是快乐和劳累的，但是却是真的很开心和充实的。并且也对军人的生活有了很深刻的体会。

军训其实真的不仅仅是在磨砺我们的身体，更多的也是磨砺我们的精神，我们的精神上面从老是想着放弃转变成了努力拼搏，从吃不得苦转变成了不怕吃苦。这些真的能使我们受益终身，还有就是我们不仅在个人精神上面得到了提升，面对团体的精神也得到了提升，经历了军训的考验和锻炼，我们变得更加团结了也更加的有团体意识了。

大学作文篇7

我大学即将毕业一名学生，在上高中的时候学习压力很大，父母给我的压力，还有自己给自己的压力，老师给我的压力，让我一进入高中就感觉神经紧绷。

刚上高一的时候，我的身体还是很好，但是由于压力太大，每天都有很多的作业，妈妈又给我压力一定要考上好的大学。所以我每天精神都高度的紧张，只为了争取好的成绩。早上起来就跑去教室学习，每天除了学习还是学习，我像一头不知疲倦的牛。渐渐地，大约过了一个学期，感觉自己睡眠没有那么好了，晚上躺下来，头脑很清醒，但是身体非常累。很累很累，却是睡不去。身体不好导致我学习压力更大。怕跟不上去，成绩会掉下来。

这样的情况恶性循环。到了高二，身体更不行，都已经力不从心了。每天都畏惧失眠。跟妈妈说，我很累，我想放弃学习。但是她不相信，她也坚决不同意。没办法，这样身体透支，每天失眠的日子还是过了一年。

到了高三，我真的是一点力气都没有了。很累很累很累，每天睡不着，每天焦虑。人都要崩溃了。这样日子在过下去，我想去死。我又跟妈妈说，我不想读书。她是不同意的，后面就跟妈妈吵起来了，我跟她说要是在逼我去读书，我会永远不回这个家，我永远恨她。

跟她扭了几天，我高三这年就没有去读书了。虽然在家里，人有力气了些，但是失眠却是非常严重。9点睡下，要过3 ，4个小时才能睡下，而且睡眠质量还很不好。吃过中药，没有用，尝试过很多方法都没有用。人真的很痛苦，很痛苦。

虽然高三没有读，但是大学还是考上了。上大学失眠稍微好些，可能是因为大学比较轻松吧。也有了对自己很好的男朋友。但是失眠还是比较差的，一个晚上睡5个小时左右，早上起来很累很累，感觉自己心脏也不好了，身体也很虚弱，走几不路就很累，人真的活得很辛苦。

在这里想求助有心人治疗我的失眠。也特别希望认识像我这样失眠的年轻朋友。有时候很想找些了解自己的情况人谈谈心。我想病友之间是最能体会那种感受的。大家谈谈心，交流交流。我想这样都是是很有帮助的。

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