每个考生都要了解的考研英语二真题答案解析

每个考生都要了解的考研英语二真题答案解析的内容如下，真题可以帮助考生了解考试的具体题型，从而在复习过程中对不同题型进行有针对性的训练。各位同学可以仔细阅读如下内容，祝各位同学们都能成功上岸。

每个考生都要了解的考研英语二真题答案解析

Text 3

We tend to think of the decades immediately following World War II as a time of prosperity and growth, with soldiers returning home by the millions, going off to college on the G. I. Bill and lining up at the marriage bureaus.

But when it came to their houses, it was a time of common sense and a belief that less could truly be more. During the Depression and the war, Americans had learned to live with less, and

that restraint, in combination with the postwar confidence in the future, made small, efficient housing positively stylish.

Economic condition was only a stimulus for the trend toward efficient living. The phrase “less is more” was actually first popularized by a German, the architect Ludwig Mies van der Rohe, who like other people associated with the Bauhaus, a school of design, emigrated to the United States before World War II and took up posts at American architecture schools. These designers came to exert enormous influence on the course of American architecture, but none more so than Mies.

Mies’s signature phrase means that less decoration, properly organized, has more impact than a lot. Elegance, he believed, did not derive from abundance. Like other modern architects, he employed metal, glass and laminated wood—materials that we take for granted today but that in the 1940s symbolized the future. Mies’s sophisticated presentation masked the fact that the spaces he designed were small and efficient, rather than big and often empty.

The apartments in the elegant towers Mies built on Chicago’s Lake Shore Drive, for example, were smaller—two-bedroom units under 1,000 square feet—than those in their older neighbors along the city’s Gold Coast. But they were popular because of their airy glass walls, the views they afforded and the elegance of the buildings ’ details and proportions, the architectural equivalent of the abstract art so popular at the time.

The trend toward “less” was not entirely foreign. In the 1930s Frank Lloyd Wright started building more modest and efficient houses—usually around 1,200 square feet—than the spreading two-story ones he had designed in the 1890s and the early 20th century.

The “Case Study Houses” commissioned from talented modern architects by California Arts & Architecture magazine between 1945 and 1962 were yet another homegrown influence on the “less is more” trend. Aesthetic effect came from the landscape, new materials and forthright detailing. In his Case Study House, Ralph Rapson may have mispredicted just how the mechanical revolution would impact everyday life—few American families acquired helicopters, though most eventually got clothes dryers—but his belief that self-sufficiency was both desirable and inevitable was widely shared.

31. The postwar American housing style largely reflected the Americans ’ .

[A] prosperity and growth

[B] efficiency and practicality [C] restraint and confidence

[D] pride and faithfulness

32. Which of the following can be inferred from Paragraph 3 about the Bauhaus? [A] It was founded by Ludwig Mies van der Rohe.

[B] Its designing concept was affected by WorldWar II.

[C] Most American architects used to be associated with it. [D] It had a great influence upon American architecture.

33. Mies held that elegance of architectural design .

[A] was related to large space

[B] was identified with emptiness

[C] was not reliant on abundant decoration [D] was not associated with efficiency

34. What is true about the apartments Mies built on Chicago’s Lake Shore Drive? [A] They ignored details and proportions.

[B] They were built with materials popular at that time.

[C] They were more spacious than neighboring buildings. [D] They shared some characteristics of abstract art.

35. What can we learn about the design of the “Case Study Houses”? [A] Mechanical devices were widely used.

[B] Natural scenes were taken into consideration. [C] Details were sacrificed for the overall effect. [D] Eco-friendly materials were employed.

Text 3

【答案解析】

31. C 根据题干信息“The postwar American housing style”定位到第二段最后一 句“ …Americans had learned to live with less ，…positively stylish.”根据这句话可知， 战后美国的住房风格反映了美国人的“restraint”和“confidence” ，故 C 项正确。首 段的“a time of prosperity and growth”指的是美国当时的时代背景，并不是指美国 人的特征，A 项属于偷换概念，故不选。第二段末句“ …made small, efficient housing positively stylish.”中“efficient”指的是美国住房风格，故 B 项错误。文中并没有提 及美国人的自豪及忠诚，故 D 项属于无中生有。

32. D 根据题干信息“Bauhaus”定位到第三段。该段最后一句“These designers came to exert enormous influence on the course of American architecture, but none more so than Mies.”可知 These designers ，即 Ludwig Mies van der Rohe 以及 other people associated with the Bauhaus ，对美国建筑有很大影响，故 D 项正确。第三 段第二句中 who 引导的定语从句只是说 Ludwing Mies van der Rohe 和 Bauhaus 有关联而非创建者，故排除 A 项。与 Bauhaus 有关联的 Ludwig Mies van der Rohe 是在二战前移民美国的，但文中并未提及它的设计理念受二战影响，故 B 项不 选。原文中只提到 Bauhaus 与其他人有关联，但并未说明这些人大部分是美国人， 因此 C 项属于过度推理。

33. C 根据题干信息定位到第四段第二句“Elegance, he believed, did not derive from abundance.”这句话中“he believed”是题干中“ Mies held ”的同义置换。“derive from”为固定搭配，意为“源于” ，C 项中“reliant on”意为“依靠” ，因此 C 项中的 was not reliant on 和原文中的 did not derive from 是同义置换。原文中的 abundance 就 是 指 abundant decoration ， 故 C 项 正 确 。 原 文 第 四 段 最 后 一 句 “Mies's sophisticated presentation …empty.”意为“Mies 的精心布局掩盖了一个事实，她设 计的房屋空间小而实用，并非大而空旷”。故 A、B、D 项内容均与原文信息相反， 不选。

34. D 根据题干信息定位到第五段第二句“But they…at the time.” 。大意是“但它 们非常流行，因为它们有轻薄的玻璃墙，美丽的景观以及高雅的建筑细节以及比 例，而这些建筑特点等同于当时受欢迎的抽象艺术。”通过“这些建筑特点等同于 当时受欢迎的抽象艺术”这句话可以判断出这些建筑和抽象艺术有相同的特征， D 项正确。 由第五段第二句“the elegance of the buildings' details and proportions” 可知“建筑的细节和比例的高雅” ，A 项中“ignore”与原文信息相反，故错误。B 项 将 第 五 段 第 二 句 “the architectural equivalent …at the time.” 中 的 “the architectural ” 偷 换 成 了 “materials” ， 故 错 误 。 由 文 章 第 五 段 首 句 “ …were smallertwobedroom units …than those in their older neighbors …” ，可知 C 项中的 “more spacious ”与原文“smaller”相反，故 C 项不选。

35. B 根据题干信息“the design of ”和“Case Study House”定位到末段第二句 “Aesthetic effect …detailing.” 。意思是“美学效果来自自然景色、新材料的使用以 及明了的细节设计” ，由此可推断出设计“Case Study House”时考虑到了自然景观， 故 B 项正确。第三句“In his …everyday life …”提到 Ralph Rapson 在当时错误预测 了机械革命如何给人们日常生活带来影响，但无法得知是否大量应用机械设施， 故 A 项错误。由末段第二句中的“forthright detailing”(明了的细节设计)可知 C 项 “sacrificed(牺牲) for the overall effect”与原文信息相反，故不选。末段第二句中提 到 了 “materials” ， 但 是 原 文 中 是 “new materials” 而 非 D 项 中 的 “Ecofriendly materials” ，故 D 项错误。

【全文翻译】

我们往往认为二战后的几十年是繁荣和发展的时期，当时数以百万计的士兵 返回家乡，他们在《退伍军人法案》帮助下去上大学，在婚姻登记处排队登记结 婚。

但是当提到他们的房子时，那个时代人们的共识和信仰就是：少即是多。在 大萧条和战争期间，美国人学会了节俭，这种克制和战后对未来的信心，使得小 而实用的房子成为绝对的时髦。

经济状况只是实用居住趋势的一个刺激因素。“少即是多”这个短语实际最初 是由德国建筑师 Ludwig Mies van der Rohe 推广开来的，像与 Bauhaus 设计学院 有关联的其他人一样，他于二战前移民美国，并曾在美国多个建筑学院任职。这 些设计师们对美国的建筑风格产生了巨大的影响，但没有人能与 Mies 相提并论。

Mies 的口头禅意思是简约的装饰、经过适当的布局，会比繁复的装饰效果 更好。他认为优雅未必来源于复杂装饰。和其他现代建筑师一样，他采用金属、 玻璃以及复合板，这些材料在今日我们看来习以为常，但是在 20 世纪 40 年代却 象征着未来。Mies 精致的呈现掩盖了他设计的空间小而实用，而非大而空旷的 事实。

例如，Mies 建在芝加哥湖岸大道上的那座优雅塔楼中的公寓，公寓只有两 个房间，面积不到 1000 平方英尺，比附近那些位于芝加哥黄金海岸沿线的公寓 更小。但它们很受欢迎，因为它们有通透的玻璃墙，可以欣赏美丽的景观以及高 雅的建筑细节以及比例，是当时风靡的抽象艺术在建筑上的等价物。

这种“少”的趋势并非完全是外来的，20 世纪 30 年代，Frank Lloyd Wright 就开始建造更适中更高效的房子，面积通常在 1200 平方英尺左右，而不再是那 些他在 19 世纪 90 年代和 20 世纪初设计的那种广为流行的两层建筑。

《加州艺术与建筑》杂志社在 1945 年间到 1962 年间委托一些才华横溢的现 代建筑师们设计的“案例研究住宅”，是另一股对“少即是多”的趋势产生了本土影 响的力量。美学效应源于自然景色、新材料以及直观的细节设计。在 Ralph Rapson 所设计的案例研究住宅里，他可能错误的预计了机械革命给人们日常生活所带来 的影响——尽管在美国拥有直升机的家庭屈指可数，但是大多数家庭都用上了烘 干机——但是他认为自给自足既是人们向往的也是不可避免的，这一理念得到了 广泛的认同。

具体信息请考生关注院校官网等发布的官方消息。

如上就是给大家介绍的每个考生都要了解的考研英语二真题答案解析的内容，认真研读真题可以避免大部分复习误区，提高同学们的备考效率。考生们如果还想了解其他考研内容，可以继续关注启航教育。

考研日期是哪天?25考研具体时间

2015-2024年考研数学真题及答案