下面是范文網(wǎng)小編分享的新加坡留學(xué)申請(qǐng)書3篇(新加坡留學(xué)申請(qǐng)資料)，以供參考。

新加坡留學(xué)申請(qǐng)書1

　　I was the only sixteen-year-old in my first university classroom. It was oneof those defining moments where I was painfully aware of how different I wasfrom the people around me. I had not yet graduated from high school, and yetthere I sat in a class on personal and social adjustment, feeling an oddcombination of excitement and anxiety. I distinctly recall my heart pounding andmy irrational fear that, at any moment, someone would inform me that I did notbelong there. I was considered an oddity at my high school as the only studentin the history of the school to attend secondary and postsecondary institutionssimultaneously as a fulltime student. I was reminded of the fact not throughvast support from my school's faculty, but through blatant vocaldiscouragement.

　　In an environment where a large majority of residents live below the povertylevel, it must have seemed strange that I would attend university early insteadof applying for employment. The initial hardships of my first year in collegedid anything but deter me from wanting to study anthropology. Indeed, theadversity I experienced only succeeded in intensifying it. My high schoolclasses were rather cold and clinical in their teachings, maintaining a firmadherence to stating and memorizing facts with little or no attempt to havestudents engage with the material. My interest in culture and my naturalresponse to analyze, question, and participate was stifled behind statestandards. In contrast, my fascination with culture was able to proliferate inpostsecondary schooling as a result of a liberal arts education and my ownproposed course of study.

　　My early education in anthropology started with a historical glance atcultural theory through works of influential pioneers like Malinowski and Mead.I became fascinated by the theoretical framework involved in culturalexploration, especially how cultural beliefs and values play a role in the everyday lives of individuals. During a class on ritual and spectacle, I droveheadlong and enthusiastically into ideas of ritual importance and its impact onsocieties. The subjects ranged from the roles of wedding rites to funerals, andI analyzed certain ceremonies and assessed the meaning of their variouscomponents. Another class taught by the same professor took ritual metaphor andapplied it to narrative. The course addressed European stories from ananalytical perspective, and I examined well-known folktales to yield theirritual symbology. I found myself impassioned by the idea of exploring beyond thesuperficial guise of narrative and seeing it as a meaningful way of expressing asociety's basic beliefs and ideologies. Immersing myself in the works of otherinspiring anthropologists, I examined texts on narrative form and nature, ritualmetaphor and the importance of storytelling in culture.

　　My interest in storytelling resulted in the subject of my undergraduatethesis. I decided to focus on American narration, specifically concentrating onexpressions of masculinity in men's magazines. It discussed dialogue inmagazines as well as in teen male group settings, focusing on theconceptualization and presentation of gender in both circumstances. Myoverarching approach examined how masculine identity in the media has evolvedover the last century. I further presented how manly behavior was glamorized inthe text from three contemporary men's magazines, and juxtaposed it with anethnographic work about how young men communicate and assert their genderroles.

　　My thesis topic is slightly removed from what I would like to study ingraduate school, but the process familiarized me with the prerequisites requiredfor social research. These included a delay in progress by routine realities,such as gaining IRB approval to interview and observe minors, as well as beingforced to dig through the vast sea of material on women's magazines just toyield the limited data done on men's publications. The college that I attendedalso emphasized the importance of organizing one's own curriculum during juniorand senior years. It was an unrestricted program in which the student consultswith sponsors and plans his or her own course of study. This program approachedthe undergraduate thesis with the same level of intensity and professionalism asa graduate dissertation.

　　For my thesis, I assessed my topic and its requirements, efficiently planningmy eventual course of study. I organized tutorials with my sponsors andestablished necessary reading lists that would contribute to my progress.Tutorial discussions allowed me to gain a broad scope of the research processand solidify my thesis into working theoretical, cultural and ethnographicpapers. I earned permission to conduct fieldwork at a local Boys and Girl'sclub, and was approved to interview and observe the interaction between teenagemales at the club. For six months, I listened to the things they considered tobe important aspects of masculinity and used my time there as one example ofteenage suburban expression of larger societal gender roles. I was able tofurther gain a taste of the graduate dissertation process when I successfullydefended my undergraduate thesis during an oral presentation to my sponsors andan outside examiner.

　　The liberal arts education I received has given me the means to approachsocial anthropology in a perceptive manner and to consider the variousintricacies that influence and shape certain aspects of culture. These wereabilities that grew and thrived in an educational environment that allowed me tothink critically about topics in anthropology and choose my own course of study.I emerged from college not with textbook facts floating around in my psyche, butwith questions, thoughts and theories. I believe it is my undergraduate liberalarts background that provides me with an aberrant and perceptive approach tocultural anthropology.

　　During my hiatus between undergraduate and graduate education, I was able tostep back from the research that captivated me for two years in order toreevaluate my goals in anthropology. While my break did not include leavingschool for an extended period, I used the time to once again study broadly inthe social sciences. By taking courses in psychology and other areas ofanthropology separate from my undergraduate focus, I challenged myself furtherthrough exposure to different material and contrasting teaching styles, therebygaining an educated and informed understanding of my intended course of studyfor graduate school. My extensive consideration of anthropology and thecombination of both my undergraduate and post-baccalaureate education has givenme the means to approach graduate school in a thoughtful and perceptive manner.Additionally, this hiatus gave me the ability to devote necessary attention tochoosing graduate schools that will both challenge my views of cultural identityand allow me to excel in anthropology.

新加坡留學(xué)申請(qǐng)書2

　　1、留學(xué)申請(qǐng)人在書寫留學(xué)文書的時(shí)候一定要說明留學(xué)動(dòng)機(jī)。例如為什么會(huì)想到留學(xué)、為什么選擇新加坡留學(xué)以及為什么選擇這個(gè)學(xué)校專業(yè)之類的，而對(duì)于文書的篇幅則要格外注意，不要出現(xiàn)流水賬，要盡量地簡單明了，讓學(xué)校與審核官都能清楚地了解申請(qǐng)人的意愿。

　　2、新加坡留學(xué)申請(qǐng)文書上要有側(cè)重點(diǎn)。以自身的優(yōu)點(diǎn)或是優(yōu)勢(shì)來突出自己，讓新加坡留學(xué)目標(biāo)院校的招生官覺得你與眾不同，而且對(duì)于自己的留學(xué)規(guī)劃也要簡單描述，以證明自己是真心想去留學(xué)的。

　　3、避免不實(shí)吹捧以及“英國式低調(diào)”。留學(xué)申請(qǐng)個(gè)人自述中最常見的錯(cuò)誤就是把簡歷或個(gè)人歷史重述一遍，沒有反思、評(píng)價(jià)和自我批評(píng)。還有一些人不愿意講自己，我們把這種情況叫作“英國式低調(diào)?！?/p>

　　這并不一定是一個(gè)錯(cuò)誤。事實(shí)上，在閱讀了無數(shù)自我吹捧（這是另一個(gè)陷阱）的文章后，這種文章倒讓人耳目一新。但是，如果申請(qǐng)人說得太少，也會(huì)令我們無從得知他這樣做是出于謙遜呢？還是因?yàn)樽居诒磉_(dá)，或者他沒有想到這篇文章對(duì)我們的重要性。

　　4、在整體和簡潔之間做到令人愉快的折衷。建議不要把草稿寄過來。文章寫完后要再看兩遍。盡量做到清楚、準(zhǔn)確，但也不要因?yàn)槠南拗品恋K文章的完整。在整體和簡潔之間可以做到令人愉快的折衷。

　　5、坦白具有風(fēng)險(xiǎn)，不必掩飾對(duì)未來的不確定性。誠實(shí)和坦白是優(yōu)秀留學(xué)申請(qǐng)個(gè)人自述的標(biāo)準(zhǔn)。誠實(shí)地表示出你對(duì)未來的不確定要比裝作什么都知道好得多，另一方面，模棱兩可并不是一個(gè)好品質(zhì)。

　　新加坡留學(xué)申請(qǐng)文書最終要達(dá)到的目的其實(shí)很簡單，就是要說明和突出申請(qǐng)者自身的能力和特點(diǎn)，讓目標(biāo)院校的招生官看到你的不同和優(yōu)秀，要讓他們產(chǎn)生一種“你正是他們?cè)趯ふ业哪欠N學(xué)生”的感覺。

　　為什么你寫的申請(qǐng)書這么蒼白？

　　1、開篇為什么非要引用名言？

　　招生負(fù)責(zé)人說：學(xué)生寫的就像是英語課堂作文，他們總想以宏大的視角開始，然后再進(jìn)入主題。但是對(duì)于大學(xué)申請(qǐng)來說，這樣會(huì)適得其反。開頭必須非常的個(gè)人，因?yàn)檎猩俾牭降牡谝痪湓挶仨毷浅鲎阅阒凇?/p>

　　假如說你就是為了莎士比亞的名言而活，那你和別人分享他的智慧和名言無可厚非。但是對(duì)于大學(xué)申請(qǐng)來說，招生官并不是想要聽到你介紹你喜歡的名人或者名言，招生官想要認(rèn)識(shí)和了解的.是你，畢竟名人或者名言他們或許比你還熟悉。

　　但是如果你覺得你寫的內(nèi)容和某名言非常的切合，你可以稍微引用一下短語，但不要生硬的放上去，將名言和個(gè)人經(jīng)歷結(jié)合起來才能發(fā)揮名言的效果。

　　2、明明是你的志愿經(jīng)歷，可為什么你寫出來卻像是抄襲的？

　　很多同學(xué)都在寫去南非等地方做過志愿者，度過了美好的時(shí)光、交到了很多的朋友，收獲了很多東西等等，招生官相信這是真的，但是寫這些東西你是為了說明什么呢？你寫的這些東西，招生官在成千上萬的申請(qǐng)書里面都看到過。這樣的文書根本就沒有吸引力，你讓招生官如何從眾多的申請(qǐng)書里面把你的挑出來？

　　3、為什么你文書上的東西多過你真實(shí)經(jīng)歷的東西？

　　任何人都是一樣的，不要去寫自己并不熟悉的東西，因?yàn)檫@樣會(huì)容易露陷。如果你并沒有參加過很多志愿活動(dòng)，你沒有進(jìn)行過某項(xiàng)科研經(jīng)歷，不是學(xué)校的風(fēng)云人物，那就請(qǐng)不要去假裝自己是一個(gè)大人物。因?yàn)檫@種不誠實(shí)的表現(xiàn)一旦被揭露，你被高校拒絕的紀(jì)律又會(huì)上升！

　　4、你不是瓊瑤，為什么要演繹瓊瑤式悲情戲？

　　每個(gè)人都面對(duì)過死亡，不管是身邊的喜歡的小動(dòng)物，或者是隔壁哥哥家的親戚。死亡對(duì)每個(gè)人都會(huì)有很大的觸動(dòng)，尤其是第一次面對(duì)死亡的時(shí)候。但是這不應(yīng)該是你文章的基調(diào)，悲情文章的最后不應(yīng)該得出人生的意義和死亡的真諦，而是你的反省，或者如何才能左右你的人生軌跡。

　　5、為什么你的申請(qǐng)文書會(huì)顯得蒼白無力？

　　聰明的學(xué)生都知道，如果你想要申請(qǐng)一個(gè)學(xué)校，就應(yīng)該對(duì)學(xué)校有所了解。招生負(fù)責(zé)人說：如果你問他們?yōu)槭裁催x擇這所學(xué)校？他們會(huì)回答說以為學(xué)校很好??！這樣的回答招生官完全沒有興趣，學(xué)校好不好，招生官比你知道！

　　在寫申請(qǐng)書之前，要先充分的了解申請(qǐng)學(xué)校，學(xué)校有多少學(xué)生，有什么專業(yè)，有你喜歡的社團(tuán)等等。

　　6、拜托，為什么我從你的文書中看到了錯(cuò)誤？

　　我告訴你什么文章是最容易被判死刑的！就是那些沒有檢查第二遍的！及時(shí)你是一個(gè)文字高手，你也有必要讓別人讀一遍你的文章，為你檢查最基本的拼寫錯(cuò)誤和語法錯(cuò)誤。我?guī)蛯W(xué)生檢查文章的時(shí)候都會(huì)非常的認(rèn)真，因?yàn)橛锌赡苓€會(huì)發(fā)現(xiàn)一些以前沒有注意到的錯(cuò)誤。

新加坡留學(xué)申請(qǐng)書3

　　1、留學(xué)申請(qǐng)人在書寫留學(xué)文書的時(shí)候一定要說明留學(xué)動(dòng)機(jī)，例如學(xué)生為什么會(huì)想到留學(xué)、為什么選擇新加坡留學(xué)以及為什么選擇這個(gè)學(xué)校專業(yè)之類的，而對(duì)于文書的篇幅要格外注意，不要出現(xiàn)流水賬，要盡量的簡單明了，讓學(xué)校與審核官都能清楚的了解申請(qǐng)人的意愿。

　　2、新加坡留學(xué)申請(qǐng)文書上要有側(cè)重點(diǎn)，以自身的優(yōu)點(diǎn)或是優(yōu)勢(shì)來突出自己，讓新加坡留學(xué)目標(biāo)院校的招生官覺得你與眾不同，而且對(duì)于自己的留學(xué)規(guī)劃也要簡單描述來證明自己知識(shí)真心留學(xué)的。

　　3、新加坡留學(xué)申請(qǐng)人所寫的留學(xué)計(jì)劃書，內(nèi)容為留學(xué)生在赴新加坡后所要進(jìn)入的學(xué)校、學(xué)習(xí)的課程種類和畢業(yè)后的職業(yè)規(guī)劃，申請(qǐng)書應(yīng)使用中文，其內(nèi)容要詳盡。

　　4、避免不實(shí)吹捧以及“英國式低調(diào)”。留學(xué)申請(qǐng)個(gè)人自述中最常見的錯(cuò)誤就是把簡歷或個(gè)人歷史重述一遍，沒有反思、評(píng)價(jià)和自我批評(píng)。還有一些人不愿意講自己，我們把這種情況叫作“英國式低調(diào)?！?/p>

　　這并不一定是一個(gè)錯(cuò)誤。事實(shí)上，在閱讀了無數(shù)自我吹捧(這是另一個(gè)陷阱)的文章后，這種文章倒讓人耳目一新。但是，如果申請(qǐng)人說得太少，也會(huì)令我們無從得知他這樣做是出于謙遜呢?還是因?yàn)樽居诒磉_(dá)，或者他沒有想到這篇文章對(duì)我們的重要性。

　　5、在整體和簡潔之間做到令人愉快的折中。建議不要把草稿寄過來。文章寫完后要再看兩遍。盡量做到清楚、準(zhǔn)確，但也不要因?yàn)槠南拗品恋K文章的完整。在整體和簡潔之間可以做到令人愉快的折衷。

　　6、坦白具有風(fēng)險(xiǎn)，不必掩飾對(duì)未來的不確定性，誠實(shí)和坦白是優(yōu)秀留學(xué)申請(qǐng)個(gè)人自述的標(biāo)準(zhǔn)。誠實(shí)地表示出你對(duì)未來的不確定要比裝作什么都知道好得多，另一方面，模棱兩可并不是一個(gè)好品質(zhì)。

　　新加坡留學(xué)申請(qǐng)文書最終要達(dá)到的目的其實(shí)很簡單，就是要說明和突出申請(qǐng)者自身的能力和特點(diǎn)，讓目標(biāo)院校的招生官看到你的不同和優(yōu)秀，要讓他們產(chǎn)生一種“你正是他們?cè)趯ふ业哪欠N學(xué)生”的感覺。

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