印象中的初中作文

印象中的初中作文（精选10篇）

篇1：印象中的初中作文

摘录：初中的印象让我不舍，初中的印象让我怀念，初中的印象让我自信，初中的印象带我走向光明的未来，一直走到很远、很远……

正文：初中生活印象

初中生活在我的人生画卷上勾勒出了重要一笔，初中生活在我的心头上，记叙了不可磨灭的印象，这印象给我留下了无数美好回忆

懵懂的生活，让我结识了我的朋友，是他们让我在枯燥的书本学习中，找到了生活的快乐，成长的幸福。他们是彩虹，渲染出缤纷的世界;他们是阳光，照亮我的心田;他们是一双手，支撑着我渡过风雨。迎接彩虹。生病时，一声关切的问候。老师责怪时，一声亲切的勉励。考试失败时，一个坚定的眼神。每一次都因有了他们，让我一次次战胜困难。每一次的情都唤醒了我心底那一丝丝的感动。正因有了他们，我留下美好的记忆。正因有了他们，让我深刻体会了友情的伟大，印象中有了他们，初中生活没有遗憾。

辛苦的学习，让我相遇到了我的老师。是他们让我在知识的海洋中遨游，找到了书中奇景，画中圣境。他们是辛勤的园丁，浇灌着我的成长;他们是太阳，将温暖无私撒向我们;他们是春风，将花香吹四方，熏陶着我，滋润着我，。犯错时，一句严厉而又关怀的责备;迷茫时，一番语重心长的教导，身体不适时，一个温柔的抚摸。生活上的点点滴滴，他们都无微不至的照料，每一次都因为有了他们，我一次次坚定信念，我一点点坚强。正因为有了他们，我的生活有苦有乐。但我深刻体会到的却是爱，正因有了他们，让我深深记住了恩师的圣洁。印象中有了他们，初中生活没有迷茫

沉重的书包，让我体会到了知识的真谛。是他们让我明白“书中自有黄金屋，书中自有千钟粟”。它们是走向成功道路上的基石，他们是通向理想天堂的阶梯。他们是未来世界光明的引领。不论喜怒，他们与我同在。考试前，他们陪我熬过一个个通宵;上课时，他们与我共同探讨;生活中，他们给予我以无私的关怀与帮助。正因有了他们，我知道了知识的神奇，神奇的力量带我飞翔。印象中有了他们，初中生活让我强大。

初中的印象让我不舍，初中的印象让我怀念，初中的印象让我自信，初中的印象带我走向光明的未来，一直走到很远、很远……

篇2：印象中的初中作文

雪，来的那么突然，人们心中的期盼转为了现实。雪，是那么晶莹，是那么纯洁，然而，在不同人的眼中，那些带着希望的雪精灵，是不一样的……

在充满幻想的小朋友眼中，雪的化身是一只只善良、可爱、纯洁的小精灵，雪精灵将会带着我们的童真，飞翔在蔚蓝的天空，我们的无数愿望将播撒在世界各地，把我们美好的幻想带给那些患了重病，一辈子只能呆在贫困地区的孩子们。雪精灵将我们美好的希望镶嵌在松软的土地上，一月又一月，一年又一年……雪精灵与我们的梦想长成了一棵参天大树，树上挂满了许多、许多、许多被我们放飞的美好、善良、纯洁的愿望。

在不辞辛苦、辛勤工作的父母眼中，雪花是会带走自己疲倦的，永远给自己欢乐和安心。雪精灵会透过父母的内心，取走疲劳、不安，放进一个小小的口袋里，不让那些危害身体健康的“坏小子”来伤害父母的身体。雪精灵把那些“坏小子”埋进一处无人知道的芳土，经过几天之后，雪精灵再将那些“坏小子”拿出来的时候，那些“坏小子”早就已经没了，转眼间，是健康、活力、青春了呢!

而在那些空巢老人的眼中，飘落的雪花是对漂泊他乡的子女的深深的牵挂，因为老人们坚信，雪花是有灵性的。20xx年的第一场雪，对老人们来说，也是有别的意义的，这意味着新春的到来，欢欢喜喜地、红红火火地、高高兴兴地过这个新年!

篇3：文学印象主义中的现实(英文)

1 Reality

First of all,a differentiation between subjective reality and objective reality has to be made;that is,though a seeming paradox,there is a distinction between reality as perceived and reality itself.Within the theory of realism,this distinction is unnecessary,for both should by definition be harmonious.For literary impressionism,however,they are crucial,and some critics suggest that by this distinction,impressionism might be closer to reality than any other school of art.

To make the two forms of reality more vivid:a person,subject or situation is the reality itself,with specific sensory signals which will vary due to external factors such as fog,darkness,light,sound,or obstructions.In addition,inner factors of the receiving interpretive intelligence such as fears,dreams,fantasy or preoccupations influence the reality as perceived,that is to say,“reality is the synthesis of perceiver and perceived—each exists and creates meaning for the other”.(Stowell,32)The logic of realism depends on a consistent reliability of both interpretations and perception the logic of impressionism suggests that this correspondence is never certain and that the inscrutability and flux of life are its fundamental reality.Impressionistic fiction involves the constant interplay between experience and comprehension,the apprehension o life through the play of perception,qualified by the constant awareness that any description or presentation of reality is dependent upon the clarity with which it perceived.The impressionist writers can play with this phenomenon in that they choose the amount or intensity of those manipulating factors and thus can lead the direction of the novel between two poles.One is its extreme form,a photographic realism,that is an objective presentation that takes place without the interference of the instant of perception,that is to say before any inner factors or cognitive processes manipulate and interpret a meaning.At the opposite extreme of subjective impressionism,filtered through a narrator’s or receiver’s mind and its internal factors,is a form of psychological realism that re-narrated leads to stream-of-consciousness.Both extremes are not usually practiced solely;in fact,impressionist fiction achieves the best results when blending both.

2 Mediation between Sense and Perception

“Impressionism suggests that reality is ephemeral,evanescent,constantly shifting its meaning and hence continually defying precise definition.”(Nagal,22)The impressionist authors,like the impressionist painters,not merely represent the objects but use them to convey personal emotional reactions.On the other hand,the uncertainties of impressions,its apprehension difficulties and its stress in the relativity of points of view,create a constant interplay of varying perceptions of reality.As a result,the characters in impressionist fiction are constantly in a state of having to interpret the world around them and to distinguish the real from their own views of the characters who perceive only the limited,ambiguous,and ultimately unknowable surfaces of a reality of the senses.It is thus crucial to the reader to judge the character’s ability to comprehend and record reality.On the surface the reader depends on the narrator’s eye;the way he sees depends on his ability to interpret the world around him.The narrator might receive restricted,disordered,or ambiguous signals from the external world and be limited to perpetually tentative judgments.He may also reason quite logically from unreliable and incomplete data and arrive at an inaccurate formulation.At best,he might accumulate bits of data that ultimately coalesce into a unified generalization consistent with the sensations he has received,at which point he experiences a sudden movement of insight in a Joycean“epiphany”.Beyond the central truth-illusion theme,a number of important subordinate themes appear in impressionist fiction.One of these is the isolation that results from the individualistic nature of empirical limitations.Basically,in impressionism,each character lives alone,alienated from other characters,uncertain of reality.If a character is forced to an ethical choice,his awareness of the limitations of his knowledge forces him to a point of crisis and despair.An attentive reader can look beyond this at first apparently limited surface of the narrator’s mind by learning to judge the character’s inner stance;the reader understands the need to re-analyze,re-interpret and filter out the character’s influence.Thus,a more realistic image of the character’s world appears,and a multi-level fiction can be enjoyed.Impressionist writers usually very successfully play with those various levels of realism with and through the portrayal of the characters and their functions.

To impressionist writers,people seldom see their surroundings in a detached,accurate,scientific manner;there is always a tendency to humanize the facts of perception.Fog is not inherently dangerous,nor sunsets beautiful,but the emotional activity of the mind usually makes them seem so.An impressionistically described scene or experience will note the aspects which struck that particular observer;the choice may seem odd to someone else.To these writers,the best fictions are written with the fewest possible words rather than lengthy descriptions,they have generally agreed that it is by far more immediate to hear an event that to hear about it.The same accounts for the development of the characters.The focus is on episodes of isolated activity rather than lengthy patterns of coordinated events;characters are developed dramatically rather than through expository description.Thus it is particularly crucial to literary impressionism to choose the method carefully.Sensory perception necessarily implies a receiving intelligence,the identity of that intelligence can vary according to a variety of patterns within the impressionistic mode.

The stream-of-consciousness writing has an important but confusing relation with impressionism.Like impressionism,stream-of-consciousness attempts to show how the external world impinges upon an individual mind.Impressionism is one technique of stream-of-consciousness writing,but stream-of-consciousness writing is not necessarily impressionistic.Impressionism follows sensations only to the nerve-ends,while stream-of-consciousness writing follows them into the brain to see how they disturb the stream of thought and feeling.The closest parallel to stream-of-consciousness writing in paint would not be impressionism but those surrealistic works.

Ford Madox Ford was the first to apply the term“impressionism”to the style of writing he observed:

The main and perhaps most passionate tenant of impressionism was the suppression of the author from the pages of his books.H must not comment;he must not narrate;he must present his impressions of his imaginary affairs as if he had been present at them.(Ford,76)

He holds that the author must write his books as if he were rendering the impressions of a person present at a scene;he must remember that a person present at a scene does not see everything and is above all not able to remember immensely long passages of dialogue.Again,speaking of what he considers literary impressionism to be,and of Joseph Conrad in particular:”We saw that life did not narrate,but made impressions on our rains.We in turn,if we wished to produce on you an effect of life,must not narrate but render impressions.”(Ford,92)In his well-known preface to The Nigger of the Narcissus,Conrad states his opinion of what makes for effective writing:“Fiction─if it at all aspires to be art——appeals to temperament.And in truth it must be,like painting,like music,like all art,the appeal of one temperament to all the other innumerable temperaments whose subtle and resistless power endows passing events with their true meaning,and creates the moral,the emotional atmosphere of the place and time.Such an appeal to be effective must be an impression conveyed through the senses.”(Conrad,12)It is true in many impressionist fictions,the author’s presence would be against the impressionist idea;besides,creating a narrator opens a wide palette of images.According to the principle of immediacy,the impressionist authors through narrator are painting the pictures,which is more effective than a length description.The narrator’s shortcoming is underlined partly by comments on his personality,but mostly by the fact that a number of characters serve as narrators at times,seeing reality in different terms.So it is inconsistent with impressionism to have an omniscient author present.In order to show the narrator’s shortcomings,the impressionist authors sometimes use boxed stories where different characters serve as narrators.Such function is consistent with impressionism,such comments could describe the conditions that cause the other narrator of characters to perceive experience in a certain way,or provide a point of contrast,a superior perspective from which the character’s thoughts become ironic.The norm in impressionistic narrative devices is the creation of a narrative intelligence that is as restricted in interpretive power as any of the characters.The device is generally reserved for occasions in which the character has difficulty perceiving an event,is not present or in some other way is denied access to primary impressions.

3 Conclusion

As this analysis of impressionism has shown,the reality portrayed in impressionist fiction is matter of perception.The capturing of a subjective experience is most likely the most truthful picture possible and thus closest to reality.So impressionism is no simply a tendency in fiction,but a consequently carried concept o style and theme.

摘要：文学印象主义中的现实不同于现实主义的定义,也不是全然的主观现实主义,它既不是感官的,也不是思想的,而是两者对立中的调解,是介于感觉与思想之间的一种感觉,是与客观事实紧密关联的主观意向性。

关键词：文学印象主义,现实,主观,感觉

参考文献

[1]Conrad,Joseph.Preface,The Nigger of the“Narcissus”[M].Lon don:J.M.Dent and Sons,Ltd.,1897.

[2]Ford,Madox Ford.On Impressionism[J].Poetry and Drama,1914(6):173.

[3]Kronegger,Maria Elisabeth.Literary Impressionism[M].New Ha ven:College and University Press,1973.

[4]Nagel,James.Stephen Crane and Literary Impressionism[M].Uni versity Park:Pennsylvania State University Press,1980.

[5]Peters,John G.Conrad and Impressionism[M].Cambridge Univer sity Press,2001.

篇4：印象中的南塘

小的时候，南塘没有这般“摩肩接踵”的各式店面，只有朴素的间间小矮房，朴实的人们，还有普通的生活。那个时候，到了夜晚，家家户户都睡得早，外面除了断续的束束微弱的路灯光，就是黑茫茫的一片。除了偶尔响起梦呓般的几声虫鸣，猫儿跑过草丛时枝叶颤抖的声音，以及不知谁家传来的沉重的鼻息，一切都是静悄悄的，仿若时间都静止在了这块土地上。

那个时候，在天都还没睡醒的时候，就有渔船在南塘河上驶着，发出嗓门老大的阵阵呜呜声。卖馄饨的人敲着手中的竹梆，骑着自行车，咔啦咔啦地路过。爷爷奶奶总是半睡半醒，有一下没一下地轻轻拍打着我的后背。爷爷奶奶做着卖早点的小本生意，过了四点，就会起来，这早已是个习惯了。我偶尔会随着爷爷奶奶醒来，揉着眼睛走出门，惺惺忪忪间，看着爷爷奶奶伸个懒腰，挽起袖子，熟练地支起早餐铺开始蒸包子。不一会儿，太阳就在爷爷奶奶的劳作中缓缓升起，金色的光芒渐渐浸透南塘河的水。包子、豆浆、糯米的香味儿，开始在早晨清新的空气中扩散，格外好闻。等一切准备妥当，早起上班的人们也如约到来，或一人，或三两成伙，挤进铺子，为南塘新的一天拉开序幕……

到了端午节，南塘总是特别热闹。河边，一定会站满人，一排排的，扯着嗓子，大声地为龙舟赛呐喊。很多老人还会抱着自家的孙子、孙女儿，来瞅瞅热闹。对于我们小孩儿来说，这一天无疑是一年中最有意思的日子之一。我总爱和邻里的孩子们聚成一堆，为各自喜欢的颜色的龙舟大声加油，仿佛谁喊得响，谁支持的龙舟就能赢得第一一样。我们会互相交换自家做的特色食品，然后聚在一人的家中学包粽子，看着互相不知是什么形状的粽娃娃，笑得东倒西歪。

台风天，也是南塘孩子们的节日。夏季一刮台风，南塘河就会发大水。每到这时，都能看见一群孩子，坐在小澡盆子里，把它当作小船儿划着玩，就连还穿着开裆裤的，也会瞎扑腾水，闹得起劲……

南塘时而静谧，时而喧腾，见证着我的成长。后来搬了家，等我再回来时，南塘已变了个模样。倒不是说现在不好，只是耀眼的LED设备取代了似有若无的白炽灯泡，夜晚总有尖锐的引擎声划破难得的宁静……总归，是和以前大不相同了。

建成了的“印象南塘”，是热闹的、繁华的，也正因此，少了以前那份简单的韵味，我还是怀念我印象中的那个南塘。

（以上指导教师：余伟）

篇5：印象初中作文

那天，我们先来到了山脚下。我抬头一看，高耸入云，一眼望不到山顶。这不得爬到我脚都抽筋吗？转念一想：不行，我一定要和爸爸妈妈爬到山顶上去，加油！我可以的！我默默的鼓励自己。

我一个劲儿地爬上山，不一会就把爸爸妈妈甩在了后面。我一会儿跑，一会儿走，累了就坐着休息；偶尔还摘些路边树上够得着的小果子玩儿。我发现这些小果子像一个个可爱的小葫芦，正悠闲地躺在我手心里睡觉呢！

我们走着走着，不知不觉走到了山顶。当我到达山顶的那一刻，我简直看呆了，哇！这就是山顶的美景吗？这也太漂亮了吧。我看见各种各样的建筑物都变得和我的手指一样大了。底下还有一个动物园，里面的小动物变得和小蚂蚁一样大了呢！

篇6：初中印象作文

校园初印象：高大挺拔的树，处处绿树成荫，校园四处肉眼可见的花坛。宽大的操场，还有那文学书香似的教学楼，一切显得如此和谐美好。

同学初印象：来自各校的51位新同学。新同学新面孔。找个位置坐下，不知说什么是好，尴尬的笑了笑。大多数都内敛;心想：“要在这个大家庭相处三年，播下友谊的种子，要不我先去打个招呼吧!”于是我认识了一个新朋友：可昕。

老师初印象：迎面看上的是一个和蔼可亲的老师!在语文的课上，储老师讲的课生动有趣，我们一个个都打着精神竖着耳朵听，甚至不敢发出“呼吸声”，只怕扰了老师讲课;数学老师走上课堂那一刻起，时时刻刻脸上都挂着灿烂的笑容，石老师的课讲得也很精彩，同学们听得很认真;英语老师看上去很年轻，眉目中露着一种慈爱，英语老师还经常给我们讲好笑的故事，她的课上弥漫着活跃的气氛，而且英语老师特别厉害，一口流利的英语使我羡慕不已!

班级新印象：“707班我来啦!”宽敞的教室，哇!一切都是那么妙!开学的第一件事，我想大家已经知道了吧?”对!就是军训，我们七班的同学都传承着不怕累不怕苦的精神!“功夫不负有心人”在我们团结一心努力拼搏的情况下，顺利的获得了军训汇演第一名!这使我们七班“开门红”，我们对这个班充满希望!

篇7：初中生活印象作文

正文：初中生活印象

街上，一片氤氲弥漫开来，

形形色色的打扮的人们眼神空洞，神色焦虑地互相穿梭。如行云流水般，不留一丝淡痕。繁琐的一天有重新开始。河边，石桥上。一个女孩穿着一条已经磨白了的牛仔裤。双手深深地插在裤袋里。一根黑色的发带穿过浓密的头发，倔强地扎成一个马尾。她望着河水，望着河岸。迎面而来的河风带着些河水的腥气，扬着她的衬衫。雪白的一角，随风肆虐，恍如一面寂寞的旗帜。不懂她到底是在望河面上那片片银鳞，还是在望对面的房子，人群。只知道她一向都是喜欢牛仔裤的，喜欢拖着长长的裤脚招摇过市，破了也不肯扔掉。她说，她要那些斑斓。

遗忘・HB

她是一名初一新生。同每个人一样，穿着白色红领的校服和米黄色的裤子。问她，你的牛仔裤呢?她摇摇头，笑容恍惚：“学校不准学生穿牛仔。”

一次，终于可以从繁琐的作业中抬起头来，是美术课时间，

她翻着笔袋。几天的课要求交一张人物速写。于是，在最后一个夹层里，她看到了一枝中华牌的HB铅笔。她小心翼翼地捡起来，把圆珠笔丢到一旁。她握着铅笔，心一声一声地跳。六棱的设计大小正合她修长的手指。压应该也是爱着HB的，爱握着它在雪白的纸上写字，画一些繁复的花纹，直到纸全被添满然后在下一张。音乐听累了，就握着铅笔写字。看着窗外，还画着花纹。

下课铃响了，她成功地交了一张速写上去。银灰的阴影充斥着白纸，她何尝不明白，那些日子不会回来了。

香樟・河水

当她背着那只暗红色的书包踏进中学大门时，很惊讶。她曾一次次地在梦中幻想过中学的样子，很出人意料地，她看到了一排排又高又大的树。是香樟，她最喜欢的植物。她欢喜的走在树阴底下。蹦啊蹦啊，刚落下的香樟叶还没来得及清扫掉，就在她的欢喜中一片分为两瓣。

篇8：上海印象初中作文

我听说过你的繁华，也目睹过你的骄傲与不可一世。看你多年来风云变幻的沧桑，一回首我抵上了你深深的双眸。

――致上海

如果一座城市也会有年龄的话，我愿抛开上海的悠悠历史。我会说，上海是一位青年女子。她有着醉人的双眸，风流的身段;着旗袍亦典雅，结彩带亦妩媚;或动或静眉间却又蹙起一抹淡淡的迷惘。

有朋友说，上海是一座绝望的城市，我却不敢苟同。上海只是有一点点的矛盾、复杂，而让人迷惘罢了。今日上海，从不绝望。恰恰相反的是，上海处处有着蓬勃的生机：中山南路的行人依旧步履匆匆地消失在某个写字楼内;复古建筑里那些历史悠久的银行依旧粉饰着昔日的金碧辉煌;遥望那玉带似的黄浦江，游轮如织的背景上，上海比肩接踵的摩天大厦在阳光下粼粼闪光;友谊、上海商厦依旧在夜幕下光芒万丈;而那88层的金茂大厦，那上海之子东方明珠，仍旧不知疲倦地载着一批又一批登顶观光的旅客。在这里，在这个庞大的城市里，每时每刻都穿梭着各式各样的人群，路边依稀着的，是炊烟袅袅的小早点铺，是芳香四溢的糕点坊，是灯红酒绿的歌舞场。一切繁华而歌舞升平。

我也曾听到过一个迷人的比喻，说一座城市就是一座桥。那么上海应该是一座金色的.巨大而冗长的桥，桥上铺着黑色的光亮的大理石地砖，上面下着小雨，显得雍容与清逸。有风吹来，没有油纸伞没有丁香一样的少女也没有才华横溢的诗人，只有天边那一抹淡淡的云霞笼罩着淡淡的怅惘。

同样喜欢的，还有上海那些古老的街道，有着高高大大的绿油油的法国梧桐。阳光静静地漫过街道，漫过那些深门大宅上锈迹斑斑的铁锁，漫过一个又一个亮晶晶的展柜，漫过这个城市所有豪华雍容的高楼商厦。轻轻静静地，阳光把这个古老又年轻的城市包裹。撑一把薄伞遮阳，足迹踏上路边年代久远的路牙，歪歪扭扭地努力保持着平衡，这是一条很安静很安静的街道，尤其是在午后。眯起眼睛抬起头，看着远处的一座高楼，暗暗思忖究竟在三十一层的哪一个窗口内，有着我暂放的行囊。阳光慵懒得如同一群振翅的白鸽，从长街的这一头，覆盖到长街的那一头。此时此刻，站在这样一条略为偏僻的午后街道，我感受到了在天府杭州也未曾有过的安心。繁华之下风尘之后，上海清澈而美好，静若处子。她有着“从容入世，清淡出尘”的绝佳魅力。

细细小小的雨丝中，缓缓走过那些嶙峋而粗糙的墙壁，触进上个世纪上海滩古老而又沉睡的骨骼里。雨丝并不冷，仅有些凉意。指尖划过那些凹凸不平的墙体，划过墙体上那些古老的石灰雕塑，划过彩色玻璃窗下的繁华呓语，划过血红色的上海古旧的门灯，伴随着指尖微微的麻痛感，轻轻走进上海的背影里。或许，十年前、二十年前、三十年前、很久很久以前，也有这么一场雨，细细微微地，冲刷着上海古老的建筑。黄浦江边，华都上海，那滚滚东逝的江水荡涤过多少动荡的岁月。从轻歌曼舞灯红酒绿，再到枪声四起风云骤变，直到今天，上海似乎一直是一个矛盾的存在，如今，我依然可以在上海这座城市里领略到新旧的交替并存，领略到动与静、繁华与安恬的唯美结合。

然后就站在上海落雨的街头，站在那样一株雨中的梧桐树下，伸开手掌，让雨滴顺着我的掌纹流淌。

晚上，当我站在游人如织的黄浦江边，看着江对面的万家灯火，恍惚间有一点点想要落泪的冲动，随之而来的，是覆盖骨骼的空虚与落寞。是啊，人类是何其伟大，创造出这样一座金光闪闪的城市;人类又是何其渺小，看那江水滔滔，竟不曾作一秒的停留，却荒芜了多少历史的烟尘。我睁大眼睛看着江面上浮动的星光，背后是嘈杂的拥挤的人群。江就在我脚下，可我闻不见江的味道;我看见的，只是大团大团的墨色江水，我听不见浪与波涛。

无论是或否，明天就要走了。

篇9：初中印象作文

早上，我和爸爸吃了点简单的早餐，便早早的出发去学校集合了。来到学校门口，旅游大巴已经在等我们了。该是和家人所再见的时候了：五天后再见！我坐上大巴，等同学们都到齐了，大巴便载着我们一车的欢笑开往火车站。

还在等火车的时候，我亲眼见识了高铁的飞一般速度：一辆高速行驶的火车就像火箭一样一眨眼就从我眼前闪过。我觉得自己差点就要被那火车的速度带走了。我们要乘坐的火车来了！每个人心里都是欢呼雀跃的。我们依次上了火车。火车很快就开了起来。时速300KM以上，真是令人惊叹不已的速度啊。一根根电线杆像篱笆桩一样“唰”的一下就过去了。常州到北京只要4个多小时哪，真是感叹祖国的发展啊。但是还是觉得4个多小时过得很慢，我们都很安静的等待着。

中午12点多，北京终于到啦！我们一起欢呼着。我们到的是北京南站，它还是亚洲第一大火车站呢。由于时间和天气原因，所以我们一到北京就准备出发去鸟巢。在路上我们认识来了带领我们的辅导员：胡月，他是来自北京清华大学的一名大二的学生，他给我们留下了很好的第一印象。鸟巢到啦！它可真是壮观啊！

在鸟巢旁边不仅还有水立方，还有北京唯一的一家七星级酒店，从它的侧面看，就像一条飞舞的盘龙，也是无比壮观。到了鸟巢里边，我们看到了美丽的内景，也仿佛回到了奥运会开幕时的宏伟场面。

北京给我的印象——壮观！

篇10：初中印象作文

广布在北国的崇山峻岭，几经千万年的沉淀积累，在干燥寒冷的气候下竟磨砺的愈发坚韧雄奇。唯其雄，才这样正气凛然，直刺青天；唯其壮，才这样粗犷豪迈，绵延千里。它们见证着中原历史的沧桑变迁。当硝烟散尽后，王朝更迭，转身，却早已物换星移，今非昔比。

然山，回眸却是一段永恒。

五岳独尊的泰山雄峙于北国大地，拔地而起，绵延千里。裸岩突兀，山势重叠，苍松巨石，烟云浩渺，苍劲的山风肆虐而过，却带不走那段传承的经典。江山几易主，封禅以报天的礼仪未曾间断，雄奇俊秀的山峦跨越千年，借那大大小小的石刻向我们宣告，那些灿烂王朝往昔的繁盛。

山之博大情怀，乃浑厚坦荡，容纳万世、汇聚百川。

北地的干寒，似是造就了他坚毅刚强的品格，又如那铁骨铮铮的山东好汉，爽朗而豪迈。分明是那份豪气感天动地，有容百川之魄力，有纳千湖之胸怀。浩浩汤汤的黄河之水在山川间曲折迂回，一点点侵蚀他的毛发血肉，峰峙岳连的磅礴大气本该如此谦和的包容。天地间的峥嵘万象，终是一个“容”字罢了。

不论是“会当凌绝顶，一览众山小”的东岳泰山，还是“五千仞岳上摩天”的西岳华山，亦或是“岩峦叠万层，鬼怪浩难测”的北岳恒山，劈地摩天，气冠群伦，北地山川的磅礴气势如此摄人心魄。