2016年全國高考作文題目VS美國高考SAT作文

2016年語文高考已經結束，現(xiàn)在公布了全國各地的高考作文題目，作文難易各有判斷，高考作為選拔人才的唯一途徑，每年都會受到大部分人的關注，而素有美國高考的SAT考試作文又有什么不同呢？介紹完今年的高考作文題目后咱們再來看看美國高考的作文題。

全國卷1(河北、河南、山西、江西、湖北、湖南、廣東、安徽、福建)

漫畫作文

 

以此漫畫材料，根據(jù)要求寫一篇不少于800字的文章。要求：結合材料的內容和寓意，選好角度，確定立意，明確文體，自擬標題，不得抄襲。

全國卷2(青海、西藏、甘肅、貴州、內蒙古、新疆、寧夏、吉林、黑龍江、遼寧、重慶、陜西、海南)

語文素養(yǎng)

語文學習關系到一個人的終身發(fā)展，社會整體的語文素養(yǎng)關系到國家的軟實力和文化自信。對于我們中學生來說，語文素養(yǎng)的提升主要有三條途徑：課堂有效教學、課外大量閱讀、社會生活實踐。

請根據(jù)材料，從自己語文學習的體會出發(fā)，比較上述三條途徑，闡述你的看法和理由。

要求選好角度，確定立意，明確問題，自擬標題，不少于800字。

全國卷3(廣西、云南、四川)

小羽的創(chuàng)業(yè)故事

歷經幾年試驗，小羽在傳統(tǒng)工藝的基礎上推陳出新，研發(fā)出一種新式花茶并獲得專利�？墒桥�量生產不久，大量假冒偽劣產品就充斥市場。小羽意識到，與其眼看著剛興起的產業(yè)這么快走向衰敗，不如帶領大家一起先把市場做規(guī)范。于是，她將工藝流程公之于眾，還牽頭擬定了地方標準，由當?shù)卣�府部門發(fā)布推行。這些努力逐漸見效，新式花茶產業(yè)規(guī)模越來越大，小羽則集中精力率領團隊不斷創(chuàng)新，最終成為眾望所歸的致富帶頭人。

要求：綜合材料內容及含義，選好角度，確定立意，明確文體，自擬標題，不少于800字。

北京：老腔、書簽二選一

①《白鹿原上奏響一支老腔》記述老腔的演出每每“撼人肺腑”，令人有一種“酣暢淋漓”的感覺。某種意義上，老腔已超越了其藝術形式本身，成為了一種象征。請以“‘老腔’何以令人震撼”為題，寫一篇議論文。

從老腔的魅力說開去，不局限于陳忠實散文的內容，觀點明確，論據(jù)充分，論證合理。

②請展開想象、以“神奇的書簽”為題，寫一篇記敘文。要求：表現(xiàn)愛讀書、讀好書的主題;有細節(jié)，有描寫。

上海：評價他人的生活

隨著現(xiàn)代社會的發(fā)展，人們的生活更容易進入大眾視野，評價他人生活變得越來越常見，這些評價對個人和社會的影響也越來越大。人們對“評價他人的生活”這種現(xiàn)象的看法不盡相同，請寫一篇文章，談談你對這種現(xiàn)象的思考。要求：(1)自擬題目;(2)不少于800字。

浙江：虛擬與現(xiàn)實

網上購物，視頻聊天，線上娛樂，已成為當下很多人生活中不可或缺的一部分。業(yè)內人士指出，不遠的將來，我們只需在家里安裝VR(虛擬現(xiàn)實)設備，便可以足不出戶地穿梭于各個虛擬場景：時而在商店的衣帽間里試穿新衣，時而在足球場上觀看比賽，時而化身為新聞事件的“現(xiàn)場目擊者”……當虛擬世界中的“虛擬”越來越成為現(xiàn)實世界中的“現(xiàn)實”時，是選擇擁抱這個新世界，還是刻意遠離，或者與它保持適當距離?對材料提出的問題，你有怎樣的思考?寫一篇不少于800字的論述類文章。

江蘇：話長話短

俗話說“有話則長，無話則短”，也有人說“有話則短，無話則長”，無話的時候也要說出自己的見解。在這個時代，是彰顯個性還是提倡創(chuàng)新?以此為題材，寫800字作文。

山東：我的行囊

行囊已經備好，開始一段新的旅程。路途漫漫，翻檢行囊會發(fā)現(xiàn)，有的東西很快用到了，有的暫時用不上，有的想用而未曾準備，有的會一直伴隨我們走向遠方……

要求：選準角度，自定立意，自擬標題，不少于800字。

天津：我的青春閱讀

請根據(jù)下面的材料，寫一篇文章。

在閱讀方式多元化的今天，你可以通過手機、電腦等電子設備，在寬廣無垠的網絡空間中汲取知識;你可以借助多媒體技術，“悅讀”有形有色、有聲有像的中外名著;你也可以繼續(xù)手捧傳統(tǒng)的紙質書本，享受在墨海書香中與古圣今賢對話的樂趣…… 當代青年渴求新知，眼界開闊，個性鮮明，在閱讀方式的選擇上不拘一格。請圍繞自己的閱讀方式，結合個人的體驗和思考，談談“我的青春閱讀”。

要求：①自選角度，自擬標題; ②文體不限(詩歌除外)，文體特征鮮明; ③不少于800字; ④不得抄襲，不得套作。

清華大學哲學系某教授看過今年全國高考作文題后，他的總體感覺是：不盡人意，沒有體現(xiàn)時代發(fā)展，觀念和手法上都趨于保守，沒有新意，缺乏亮點。

與中國高考作文不同的是，SAT作文字數(shù)要求不多，寫作時間為25分鐘，對于母語非英語的學生來說，短時間內寫一篇精煉而有深度的英語作文是很難的。

SAT寫作考試

首先，我們來關注一下SAT寫作考試的出題形式。一般來說，SAT 作文題目由Prompt (背景)+ Assignment (任務，題目)這兩部分組成。Prompt 是給考生提供理解Assignment 的線索，而Assignment 中的問題則是在作文中要回答的。

由于SAT考試是針對高中生升大學的考試，因此寫作話題不需要具備單項的專業(yè)背景知識，但話題涉及范圍卻非常廣泛，包括文學、藝術、運動、政治、技術、科學、歷史及時事。值得學生注意的是，SAT 的Official Guide 中清楚地說明了The essay readers are not looking for one correct viewpoint 。所以有些考生企圖竭力尋找一個觀點，借此討好閱卷老師，這種做法是沒有意義，也是浪費時間的。你選擇什么樣的立場其實并不重要，重要的是你能否做到運用簡潔清晰恰當?shù)睦�子，推理論證你持有的觀點。專家提醒大家要注意SAT寫作過程中的這些知識點，參加一些SAT寫作培訓班是最好不過的，還要多練習SAT寫作真題。

2016年5月亞洲首場SAT考試作文題目及范文

以下是考場文章的回憶版，Prompt對文章主旨的定義是：The sculptures of the Parthenon should be returned to Greece:

The great classicist A. W. Lawrence (illegitimate younger brother of the even more famously illegitimate T.E. “of Arabia”) once remarked of the Parthenon that it is “the one building in the world which may be assessed as absolutely right.”

Not that the beauty and symmetry of the Parthenon have not been abused and perverted and mutilated. Five centuries after the birth of Christianity the Parthenon was closed and desolated. It was then “converted” into a Christian church, before being transformed a thousand years later into a mosque—complete with minaret at the southwest corner—after the Turkish conquest of the Byzantine Empire. Turkish forces also used it for centuries as a garrison and an arsenal, with the tragic result that in 1687, when Christian Venice attacked the Ottoman Turks, a powder magazine was detonated and huge damage inflicted on the structure. Most horrible of all, perhaps, the Acropolis was made to fly a Nazi flag during the German occupation of Athens.

The damage done by the ages to the building, and by past empires and occupations, cannot all be put right. But there is one desecration and dilapidation that can at least be partially undone. Early in the 19th century, Britain’s ambassador to the Ottoman Empire, Lord Elgin, sent a wrecking crew to the Turkish-occupied territory of Greece, where it sawed off approximately half of the adornment of the Parthenon and carried it away. As with all things Greek, there were three elements to this, the most lavish and beautiful sculptural treasury in human history. Under the direction of the artistic genius Phidias, the temple had two massive pediments decorated with the figures of Pallas Athena, Poseidon, and the gods of the sun and the moon. It then had a series of 92 high-relief panels, or metopes, depicting a succession of mythical and historical battles. The most intricate element was the frieze, carved in bas-relief, which showed the gods, humans, and animals that made up the annual Pan-Athens procession: there were 192 equestrian warriors and auxiliaries featured, which happens to be the exact number of the city’s heroes who fell at the Battle of Marathon. Experts differ on precisely what story is being told here, but the frieze was quite clearly carved as a continuous narrative. Except that half the cast of the tale is still in Bloomsbury, in London, having been sold well below cost by Elgin to the British government in 1816 for $2.2 million in today’s currency to pay off his many debts.

There has been a bitter argument about the legitimacy of the British Museum’s deal. I’ve written a whole book about this controversy and won’t oppress you with all the details, but would just make this one point. If the Mona Lisa had been sawed in two during the Napoleonic Wars and the separated halves had been acquired by different museums in, say, St. Petersburg and Lisbon, would there not be a general wish to see what they might look like if re-united? If you think my analogy is overdrawn, consider this: the body of the goddess Iris is at present in London, while her head is in Athens. The front part of the torso of Poseidon is in London, and the rear part is in Athens. And so on. This is grotesque.

It is unfortunately true that the city allowed itself to become very dirty and polluted in the 20th century, and as a result the remaining sculptures and statues on the Parthenon were nastily eroded by “acid rain.” The Greeks have been living up to their responsibilities. Beginning in 1992, the endangered marbles were removed from the temple, given careful cleaning with ultraviolet and infra-red lasers, and placed in a climate-controlled interior. Alas, they can never all be repositioned on the Parthenon itself, because, though the atmospheric pollution is now better controlled, Lord Elgin’s goons succeeded in smashing many of the entablatures that held the sculptures in place. That leaves us with the next-best thing, which turns out to be rather better than one had hoped. About a thousand feet southeast of the temple, the astonishing new Acropolis Museum will open on June 20. With 10 times the space of the old repository, it will be able to display all the marvels that go with the temples on top of the hill. Most important, it will be able to show, for the first time in centuries, how the Parthenon sculptures looked to the citizens of old.

The British may continue in their constipated fashion to cling to what they have so crudely amputated, but the other museums and galleries of Europe have seen the artistic point of re-unification and restored to Athens what was looted in the years when Greece was defenseless. The Acropolis Museum has hit on the happy idea of exhibiting, for as long as following that precedent is too much to hope for, its own original sculptures with the London-held pieces represented by beautifully copied casts. And it creates a natural thirst to see the actual re-assembly completed. So, far from emptying or weakening a museum, this controversy has instead created another one, which is destined to be among Europe’s finest galleries. And one day, surely, there will be an agreement to do the right thing by the world’s most “right” structure.

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