【正文】 se of Kumari from Sri main breadwinner in her family, she used to work for a very low wage at a tea factory in Sri she found it difficult to feed her four children, she accepted a job working as a domestic in says she felt like a prisoner at the London house where she 。她家主要靠她掙錢維持生計，她曾在斯里蘭卡一家茶廠掙一份微薄的工資。因為她發(fā)現(xiàn)很難養(yǎng)活她的4個孩子，她才接受到倫敦去做家庭傭人。她說她覺得在倫敦她干活的那家人家眼就像一個犯人：”No days off — ever, no breaks at all, no proper didn39。t have my own room。I slept on a shelf with a space of only three feet above wasn39。t allowed to talk to wasn39。t even allowed to open the employers always threatened to report me to the Home Office or the police.““沒有休息日——甚至根本沒有閑下來的功夫，沒有適當?shù)氖澄?，沒有自己的房間，睡在一個上面的空間只有3英尺高的架子上。不允許我跟任何人說話，甚至不許我開窗。雇主總是威脅把我的身份報告給內政部或警察局?！盇t the end of 1994 the British Government introduced new measure s to help protect domestic workers from abuse by their included increasing the minimum age of employees to 18, getting employees to read and understand an advice leaflet , getting employers to agree to provide adequate maintenance and conditions, and to put in writing the main terms and conditions of the job(of which the employees should see a copy).1994年底，英國政府采取新措施來幫助家庭傭人免遭雇主的虐待。措施包括把雇工的最小年齡提高到18歲，使受雇者能閱讀并理解通告單，使雇主同意提供適當?shù)纳钯M用和條件，并寫出工作條件和主要的工作條款（受雇者應有此種副本）。However, many people doubt whether this will successfully reduce the incidence of the main problem facing overseas maids and domestics who try to plain about cruel living and working conditions is that they do not have independent immigrant status and so cannot change employer.(They are allowed in the United Kingdom under a special concession in the immigration rules which allow foreigners to bring domestic staff with them.)So if they do plain, they risk being ，許多人懷疑該措施能否成功地減少虐待發(fā)生率，因為那些企圖抗議惡劣生活和工作條件的外籍女傭和家仆所面臨的主要問題是他們沒有獨立的移民身份，因此不能更換雇主（英國移民法的特許條款允許外國人攜帶家仆）。所以如果抗議的活，他們就冒著被驅逐出境的風險。Allowing domestic workers the freedom to seek the same type of work but with a different employer, if they so choose, is what groups like AntiSlavery International are campaigning the Government is, they say, the right to change employers which distinguishes employment from ——假如他們這樣選擇——正是“反奴隸制國際組織”與政府交涉的內容，他們說正是有權改變雇主的這一做法區(qū)分了雇傭制和奴隸制。Unit FiveThe new music was built out of materials already in existence: bules, rock39。n39。roll, folk although the forms remained, something pletely new and original was made out of these older element s — more original, perhaps, than even the new musicians themselves yet transformation took place in to that time, the blues had been an essentially black 39。n39。roll, a blues derivative , was rhythmic dance music, old and modern, was popular among college three forms remained musically and culturally distinct, and even as late as 1965, none of them were expressing any radically new states of expressed black soul。rock was the beat of youthful energy。and folk music expressed antiwar sentiments as well as love and ：布魯斯，搖滾樂，民間音樂中產(chǎn)生的。雖然新音樂保留了原有的形式，但某些全新的、獨創(chuàng)性的東西從舊的成分中脫穎而出的——它們也許比新音樂家意識到的還要更富有獨創(chuàng)性。這個變革發(fā)生在19661967年間。那個時候以前，布魯斯基本上一直是黑人的音樂表達方式。由它衍生出的搖滾樂是節(jié)奏性很強的舞蹈音樂。而民間音樂，既有古老又有現(xiàn)代的，在大學生中頗為流行。這三種音樂形式在音樂和文化方而都各不相同，甚至直到1965年，它們中任何一個都沒有表達任何全新的意識境界。布魯斯表現(xiàn)黑人的心靈，搖滾是年輕活力的節(jié)拍，民樂除表現(xiàn)愛情與希望外，還表現(xiàn)反戰(zhàn)情緒。In 19661967 there was spontaneous the United States, it originated with youthful rock groups playing in San England, it was led by the Beatles, who were already established as an extremely fine and highly individual rock group What happened, as well as it can be put into words, was the separate musical traditions were brought Dylan and the Jefferson Airplane played folk rock, folk ideas with a rock beat White rock groups began experimenting with the course, white musicians had always played the blues, but essentially as imitators of the Negro style。now it began to be the white band s39。 own all of the groups moved towards a broader eclecticism and freely took over elements from jazz, from America country music, and as time went on from even more diverse sources What developed was a music readily taking on various forms and capable of an almost limitless range of 。在美國，舊金山的年輕搖滾樂隊發(fā)起了這場變革；在英國，被公認是極其完美和非常獨特的披頭士搖滾樂隊領導了這股新潮流。所發(fā)生的情況，如用言詞盡可能地表達出來是這樣的：首先，分離的音樂傳統(tǒng)被結合起來了。鮑伯．狄倫和杰弗遜飛機隊演奏民歌搖滾樂，將民歌思想與搖滾節(jié)奏結合在一起。白人搖滾樂隊開始嘗試演奏布魯斯。當然，白人音樂家雖然已經(jīng)一直在演奏布魯斯，但基本上只是模仿黑人音樂的風格。而現(xiàn)在，它開始變成白人樂隊自己的音樂了。所有的樂隊都朝著更廣泛的折衷主義和結合主義的方向前進。他們自由地吸收爵士音樂、美國鄉(xiāng)土音樂的成分，而隨著時間的推移，他們甚至對各種各樣的音樂兼收并蓄，最后發(fā)展成一種能輕松采取多種形式的、幾乎有無窮表現(xiàn)力的新音樂。The second thing that happened was that all the musical groups began using the full range of electric instruments and the technology of electronic electric guitar was an old instrument, but the new electronic effects were altogether different — so different that a new listener in 1967 might well feel that there had never been an。sounds like that in the world did, in fact, make possible sounds that no instrument up to that time could in studio recordings, new techniques made possible effects that not even an electronic band could produce amplifiers also made possible a fantastic increase in volume , the music being as loud and penetrating as the human ear could stand, and thereby achieving a ”total“ effect, so that instead of an audience of passive listeners, there were now audiences of total participants, feeling the music in all of their senses and all of their 。電吉他是一種老式樂器，但新的電子效果迥然不同——如此不同，以致1967年一位新聽眾可能感覺以前在世界上從沒有聽過像這樣的聲音。事實上，電子技術的確能合成那時任何樂器也無法奏出的聲音。在錄音室錄制時，新技術有可能制作出甚至電子樂隊現(xiàn)場表演時也演奏不出的效果。電子揚聲器也能使音量有驚人的增大，音樂變得那么宏亮，那么富有穿透力，極盡人的耳朵承受之能，從而達到了一種“整體”效果。因此，觀眾不再是被動地聽，而是完全參與，他們全身心地感受音樂，如癡如醉。Third, the music bees a multimedia experience。a part of a total walls of the ballrooms were covered with changing pattern s of light, the beginning of the new art of the light the audience did not sit, it records at home, listeners imitated these lighting effects as best they could, and heightened the whole experience by using music was played out of doors, where nature provided the ，音樂變成一種多媒體的感受，成了整體環(huán)境的一部分。舞廳的墻壁上布滿變幻無常的燈光圖案，這也是燈光表演這門新藝術的開始。觀眾并不坐著，而是隨著音樂起舞。在家里欣賞唱片時候聽眾盡力模仿照明效果，甚至服用毒品來增強整個音樂享受的快感。音樂常在戶外演奏，在那兒大自