㈠ 英語作文，到底是看小說好還是看電影好
翻譯如下：
Which is better, reading novels or watching movies?
From my point of view, it's better to see a movie.
The reason is as follows: first, the movie can bring joy and laughter. Did you read the book and laugh? Second, the movie does not need to use their brainsand reading is too tired. Life is short, we need to relax. Third, watching movies can stimulate the economy. The movie has a lot of consumptionand it can bring many job opportunities.
㈡ 求一篇英語作文要介紹看過的書籍或電影，最好80字左右
電影《加勒比海盜》的英語作文。採納好嗎親╭(╯3╰)╮
Pirates of the Caribbean is a sweeping action-adventure story set in an era when villainous pirates scavenged the Caribbean seas. This roller coaster tale teams a young man, Will Turner, with an unlikely ally in rogue pirate Jack Sparrow. Together, they must battle a band of the world's most treacherous pirates, led by the cursed Captain Barbossa, in order to save Elizabeth, the love of Will's life, as well as recover the lost treasure that Jack seeks. Against improbable odds, they race towards a climactic confrontation on the mysterious Isla de Muerta. Clashing their swords in fierce mortal combat, Will and Jack attempt to recapture The Black Pearl ship, save the British navy, and relinquish a fortune in forbidden treasure thereby lifting the curse of the Pirates of the Caribbean.
㈢ 我要寫8000字的英語論文 是找一部文學作品寫好呢還是找一部電影寫好 能不能給我推薦一下文學作品或電影名
1.蘇東坡的文學背景和他的賦
SU TUNG-PO』S LITERARY BACKGROUND AND HIS PROSE-POETRY by Qian Zhongshu
(Primarily written as a foreword to 「Su Tung-Po』s Prose-poems」 translated into English With Notes and Commentaries by C. D. Le Gros Clark, this is published here by kind permission of Mr. Le Gros Clark. Those who are interested in textual criticism may consult Mr. Wu Shih-ch』ang』s review in Chinese which appeared in The Crescent Monthly, Vol. IV, No. 3. –Ed.)
Of the Sung dynasty, it may be said, as Hazlitt said of himself, that it is nothing if not critical. The Chinese people dropped something of their usual wise passiveness ring the Sung dynasty, and 「pondered, searched, probed, vexed, and criticized」. This intellectual activity, however, is not to be compared with that of the Pre-Chin period, the heyday of Chinese philosophy. The men of the Sung dynasty were inquisitive rather than speculative, filled more with a sense of curiosity than with a sense of mystery. Hence, there is no sweep, no daring, no roominess or margin in their intellectualism. A prosaic and stuffy thing theirs is, on the whole. This critical spirit revealed itself in many directions, particularly in the full flourish of literary criticism and the rise of the tao-hsüeh （道學）, that mélange altere of metaphysics, psychology, ethics and casuistry.
Literary criticism in China is an unly belated art. Apart from a handful of obiter dicta scattered here and there, Liu Hsieh』s Literary Mind （劉勰文心雕龍） and Lo Chi』s A Prose-poem on Literature （陸機文賦） are the critical writings that count up to the Sung dynasty. There is Chung Yung』s Classification of Poets (鍾嶸詩品) of course. But Chung Yung is a literary genealogist rather than a critic, and his method of simply dividing poets into sheep and goats and dispensing praise or dispraise where he thought e, is the reverse of critical, let alone his fanciful attempts to trace literary parentages(1). Ssu-Kung Tu』s Characterisations of Poetry (司空圖詩品) is a different matter(2). Ssu-Kung Tu seeks to convey purely with imagery the impressions registered by a sensitive mind of twenty four different kinds of poetry: 「pure, ornate, grotesque,」 etc. His is perhaps the earliest piece of 「impressionistic」 or 「creative criticism」 ever written if any language, so quietly ecstatic and so autonomous and self-sufficient, as it were, in its being but it fails on that very account to become sober and proper criticism. It is not until the Sung dynasty that criticism begins to be practiced in earnest. Numerous 「causeries on poetry」 （詩話）are written and principles of literature are canvassed by way of commentaries on indivial poets. Henceforth, causeries on poetry become established as the vehicle for Chinese criticism. One must note in passing that there do not appear professional critics with the rise of criticism. In those good old days of China, criticism is always the prerogative of artists themselves. The division of labour between critics and artists in the West is something that the old Chinese literati would scoff at. The criticism of Sung dynasty, like all Chinese criticismsbefore the 「New Literature Movement」 with the possible exception of Hsieh』s Literary Mind, is apt to fasten upon particulars and be given too much to the study of best words in best places. But it is symptomatic of the critical spirit, and there is an end of it.
The Chinese common reader often regards the men of the Sung dynasty as prigs. Their high seriousness and intellectual and moral squeamishness are at once irritating and amusing to the ordinary easy-going Chinese temperament. There is something paralyzing and devitalizing in their wire-drawn casuistry which inces hostile critics to attribute the collapse of the Sung dynasty to its philosophers. There is also a disingenuousness in their attempts at what may be called for want of a better name, philosophical masquerade: to dress up Taoism of Buddhism as orthodox Confucianism. One need but look into Sketches in a Villa（閱微草堂筆記）and Causeries on Poetry in a Garden（隨園詩話） to see what a good laugh these two coxcombs of letters, Chi Yuen （紀昀） and Yuan Mei （袁枚） have had at the expense of the Sung philosophers and critics respectively. Nevertheless ofe is compelled to admit that the Sung philosophers are unequalled in the study of mental chemistry. Never has human nature been subject to a more rigorous scrutiny before or since in the history of Chinese thought. For what strikes one most in the tao-hsüeh is the emphasis on self-knowledge. This constant preying upon itself of the mind is quite in the spirit of the age. The Sung philosophers are morbidly introspective, always feeling their moral pulses and floundering in their own streams of consciousness. To them, their mind verily 「 a kingdom is」. They analyse and pulverize human nature. But for that moral bias which Nietzsche thinks to be also the bane of German philosophy, their vivisection of human soul would have contributed a good deal to what Santayna calls literary psychology.
The poetry of the sung dynasty is also a case in point. It is a critical commonplace that the Sung poetry furnishes a striking contract to the T』ang poetry. Chinese poetry, hitherto ethereal and delicate, seems in the Sung dynasty to take on flesh and becomes a solid, full-blooded thing. It is more weighted with the burden of thought. Of course, it still looks light and slight enough by the side of Western poetry. But the lightness of the Sung poetry is that of an aeroplane describing graceful curves, and no longer that of a moth fluttering in the mellow twilight. In the Sung poetry one finds very little of that suggestiveness, that charm of a beautiful thing imperfectly beheld, which foreigners think characteristic of Chinese poetry in general. Instead, one meets with a great deal of naked thinking and outright speaking. It may be called 「sentimental」 in contradistinction to the T』ang poetry which is on the whole 「naïve」, to adopt Schiller』s useful antithesis. The Sung poets, however, make up for their loss in lisping naivete and lyric glow by a finesse in feeling and observation. In their descriptive poetry, they have the knack of taking the thing to be described sur le vif: witness Lo Yu (陸游) and Yang Wan-li （楊萬里）. They have also a better perception of the nuances of emotion than the T』ang poets, as can be seen particularly in their Ts』u （詞）, a species of song for which the Sung dynasty is justly famous(3). Small wonder that they are deliberate artists, considering the fact that they all have been critics in the off hours of their inspiration. The most annoying thing about them is perhaps their erudition and allusiveness which makes the enjoyment of them to a large extent the luxury of the initiated even among the Chinese. （3000字）
還有一篇在玩偶之家的身份抗爭（6000字）和一篇馬丁路德金的《我有一個夢》文體分析（10000字）
如果需要就麻煩您告訴我您的郵箱，再給您發過去。
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㈣ 比較看書看電影或者電視哪個比較好的英語作文
是實話，看書幫助最大了。因為書比電影和電視劇更適合，英語作文所要求的書面語。如果是想提高口語的話，可以看些電影或者電視劇。
㈤ 電影與文學哪個更重要議論文
電影來源於文學，文學造就電影。文學與電影有密切的聯系，文學表達的是文字的、靜態的美；而電影是感官結合的體驗，動態的美。
作為綜合藝術的電影在汲取諸種藝術養料豐富自身綜合特質方面，獲得與文學的密切融合關系。文學各種樣式對電影的滲透，電影對文學的敘事手法、抒情手法和塑造人物性格的豐富藝術手段的借鑒，使電影藝術在增強自身的表現能力，形成新的綜合藝術特質方面，發揮作用。
電影文學作為電影的文學基礎構成，是以電影的獨特視聽思維方式來構思和寫作的文學形式，兼有電影和文學的雙重屬性。電影文學，集中表現為電影的劇作基礎，即電影劇本。電影劇本包括文學劇本、分鏡頭本和台本（工作台本、完成台本）三個部分。電影文學又指電影作品的文學性含義，包括電影劇作的文學價值、電影創作借鑒與融合的文學形式因素、電影劇作的文學個性等等。
㈥ 關於「小說和電影」的比較,寫一篇對比類的英文作文
ThewholemovieisalittleSimba'sgrowthhistory,thinkofwatchingthemoviemyself,reallylike,,,hairtemper,Ireallydonotshould,LionKingmovieFeedback.hohelpedme,sincerelysay---thankyou,,alotofworry.Iliketheinsideofthecharacters,likethisfunstoryfullofjoy,.,,althoughnotinthemovie,butitisnoteasy.,
㈦ 以書籍和電影你更喜歡哪個為話題，寫一篇英語作文如題 謝謝了
Many students, compared with reading original books, prefer to watch movies, because they think the film is more interesting , but it saves time and is easy to understand . But I prefer reading books, because there are more original details , the statement is very beautiful , to give people the joy of beauty .
㈧ 求 電影和書那樣更好的英語作文
不明白你想要什麼。 是不是應該先把中文學好呢。作為一個中國人，最最基本的事情是要把自己的母語學好。正確使用中文是一切學習的根本。