初中去新西蘭留學(xué)申請(qǐng)書

　　隨著時(shí)代在進(jìn)步，需要使用申請(qǐng)的'場(chǎng)合越來(lái)越多，申請(qǐng)書可以使我們的愿望和請(qǐng)求得到合理表達(dá)。你還在為寫申請(qǐng)書而苦惱嗎？以下是小編幫大家整理的初中去新西蘭留學(xué)申請(qǐng)書，歡迎閱讀，希望大家能夠喜歡。

Dear x,

　　In French, ‘language’ and ‘tongue’ are the same word. In English, they aresynonyms; but French gives the ability to use and structure words the status ofan organ of the body. Language is intrinsic to human experience, but as ourcountries and our cultures have diverged, so have the images embedded in ourspeech. The relationship between English and French is fascinating; Chaucer’sEnglish is littered with French borrowings, while the Académie Francaise todaysees English words as litter in the pure streets of its language. I want tostudy literature because I love these oppositions and connections, showing asthey do the power of words. Words are the currency of life, and from Shakespeareto Simon Armitage, nothing else inspires so greatly my capacity for wonder.Reading Armitage’s ‘Kid’ on an English classroom poster was the first time Iencountered the contemporary language used in poetry. It had never occurred tome that words in the vernacular could chime to such effect; structurally thecompressed, incessant nature of the half-rhymes showed me what form could do forlanguage.

　　Form has been described as both restraining and liberating language. Itgave Swinburne the framework for his aesthetic grace, and it is used with greatdexterity by Paul Farley, who taught the Arvon Centre course that I attended asa winner of the 20xx Foyle Young Poets award. I had written creatively before,including the obligatory bad first novel, but the course taught me to read myown work and the work of others critically, which was invaluable.

　　With the other Foyle’s winners I have helped to start an e-Zine titledPomegranate Poetry, for which I write regular articles and work on the selectionteam to choose the best submissions for the website. Along with my role as amusic reviewer for Stylus Magazine and my co-editing of the school newspaper, Ienjoy this chance to develop writing skills outside the classroom. I also studyTheatre, and hope one day to act in French when I have reached a standard oflanguage where my performance can seem as believable as one in my mothertongue.

　　The first French writer whose books I read was Boris Vian, as a result ofmy preparation for my oral exam on ‘le mouvement Zazou’. Although some puns mayhave been lost in translation, I enjoyed his flamboyant wordplay and his wrycharacterisation. In poetry, the author I have found most engaging is CharlesBaudelaire. I was struck by his use of sound devices in ‘Au Lecteur’ tointensify the dark power of the poem’s message. In his defiant, innovativecontrast to the writing of his time, he exemplifies the writer as ‘free spirit’.Of course, such terms do not exist in a vacuum; ‘freedom’ in literature isconstructed much like any other concept by the pre-conceived ideas of the readerand society. For instance, my favourite poet, John Clare, is often seen asone-dimensional, reduced to mere rurality and madness. On reading his work, Idiscovered that nature for Clare was often a metaphor more than a literal topic,used to show security and order in the face of political change. Politics is keyto literature, and having read ‘Candide’ I would enjoy the chance to study thedevelopment of politics in France, in light of the recent banlieue riots andother signs of public disaffection.

　　I am particularly interested by the period from the French Revolution tothe First World War, as political shifts in both countries meant that no writercould ever be neutral, and in such a light the work of authors like Byron, Blakeand Saki can be read at two levels – that of its surface beauty, and that ofclass, and society’s expected moral values. I am keen to find out more about howFrench authors interpreted this period. My main ambition as a student is toraise my language skills to the levels where the two cultures will be equallyaccessible, equally communicative, and will seem to me as individual yet asconnected as the history of the languages themselves.

　　Yours sincerely,

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