Köder 042

Die lang erwartete Abreise in die Südsee.

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PAGE 42 (Four panels)

Panel 1: Eliza standing at the boarding counter for an international flight, with Daphne behind her. A GATE AGENT is checking Eliza’s documents prior to her boarding.

CAPTION – PSEUDO-NARRATION (1): At long last the preparations were made. The volunteers boarded a flight for Southeast Asia…

Translation (1): Endlich waren die vorbereitungen abgeschlossen. Die Versuchspersonen reisten nach Südostasien…

Panel 2: Eliza and Daphne sitting side-by-side in large, first-class seats in a first-class cabin. Eliza is holding a flute of champagne and Daphne is reading a book.

CAPTION – PSEUDO-NARRATION (2): The benefactor behind the exhibition arranged for them to travel first class.

Translation (2): Der Förderer der Expedition hatte einen Erste-Klasse-Flug für sie gebucht.

Panel 3: Claudia in coach class, crammed into the middle seat of three between Hiram and another passenger. Hiram looks like he’s trying to get Claudia’s attention, perhaps even hitting on her. The other passenger, a FAT MAN, has gone to sleep. Claudia stares forward with Stoic resignation.

CAPTION – PSEUDO-NARRATION (3): Most of the other specialists on the exhibition had to travel in coach.

Comment (3): “in coach” as an idiomatic way of expressing something like “second (or lower) class” in air travel – the part of the aircraft with smaller, more-crowded seats and inferior service.

Translation (3): Die moisten anderen Spezialisten des Teams mussten mit der Holzklasse Vorlieb nehmen.

Panel 4: Eliza, followed by Daphne, followed by Claudia, walking up the gangway to the RV Seagoon. Eliza is wearing her typical thin cotton shirt and skirt, Daphne is in denim shorts and a T-shirt, and Claudia is in a conservative white button-down short-sleeved shirt and a dark skirt. All three are carrying bags, with Claudia’s being by far the largest.

CAPTION – PSEUDO-NARRATION (4): After arriving in Singapore, volunteers and crew board the research vessel RV Seagoon for their venture in the South Seas.

Translation (4): Nach ihrer Ankunft in Singapur gehen die Versuchspersonen und die Crew an Bord des Forschungsschiffes RV Seagoon. Das Abenteuer in der Südsee beginnt.

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Köder (Deutsch/Dia-Version)

Köder 041

Eliza liebt es, unter Wasser zu sein; Daphne bleibt entschlossen.

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PAGE 41 (Four panels)

Panel 1: Eliza, about half climbed out of the tank, water dripping off her. A TECHNICIAN is pulling off one of her sensors. Eliza is smiling broadly.

Eliza (1): That’s just the most amazing thing, being underwater for all that time. I’ve never felt anything so peaceful.

Translation (1): Das ist einfach Wahnsinn. So lange unter Wasser zu bleiben. Es fühlt sich so friedlich an.

Panel 2: Eliza standing outside the tank, all of her sensors now removed, toweling off but still wearing her one-piece suit.

Eliza (2): I can’t wait to do that naked in the open ocean.

Translation (2): Ich kann es kaum erwarten, das nackt im offenen Ozean zu tun.

Panel 3: Daphne, back being interviewed in the coffeehouse.

Daphne (3): Back out? No way.

Translation (3): Aussteigen? Niemals.


Translation (4): Aber…

Daphne (5): But what? But I’m going to be immortal if I don’t go through with this?

Translation (5): Aber was? Ich werde unsterblich, wenn ich das nicht durchziehe?

Panel 4: Closer-in view of Daphne’s face. She looks deadly serious.

Daphne (6): None of us has the choice as to whether to die. We can only make it sooner, or maybe just a little later.

Translation (6): Niemand von uns hat die Wahl, ob er sterben möchte. Wir können nur dafür sorgen, dass es schneller geschieht oder es hinauszögern.

Daphne (7): And we can try to attach meaning to death. That’s what I’m doing here.

Translation (7): Und wir können dem Tod einen Sinn verleihen. Das tue ich hier.

 Köder (Deutsch/Langseitige Version)
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Köder 037

Wir begegnen Elizas nacktem Verstand.

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PAGE 37 (Three panels)

Panel 1: Probably long on the side of the page. Close up view of Eliza in the giant tank wearing the “tentacle swim suit.”

Eliza (balloon with watery lines) (1): … … …

Panel 2: Close-up on a speaker on a control panel.

Eliza (radio balloon coming from speaker) (2): bzzt crackle hoff iss cocks bign faat like dis zz-pop!

Comment (2): Eliza’s underlying internal monologue here is something like “Yes! Cocks [that is, penises] big and fat like these” but obscured by transmission noise. The translation should include appropriate representations of “noise” and distortion.

Translation (2): bzzt knatz aaah pimmel kdick nd grosswi diiessse ss-laz!

Panel 3: Claudia and Turpentine, both dressed in coveralls, monitoring progress on a panel.

Claudia (3): Don’t you think we should tell her she has no internal censor going?

Translation (3): Sollten wir ihr nicht sagen, dass ihr interner Zensor nicht funktioniert?

Turpentine (4): No! The more we get for science, the better!

Translation (4): Nein! Je mehr wir für die Wissenschaft sichern können, desto besser!

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Köder 036

Claudia Honeywood stellt sehr intelligente Roboter her.

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PAGE 36 (Four panels)

Panel 1: Claudia, in coveralls and wearing goggles, sitting at a high-tech workbench making adjustments to a tiny (about the size of a toaster) submersible drone.

CAPTION – PSEUDO-NARRATION (1): Ethical objections aside, preparations for an expedition are laid in.

Translation (1): Ethische Bedenken spielen keine Rolle und die Vorbereitungen der Expedition beginnen.

Panel 2: Claudia now being interviewed in the lab. She has pushed her goggles up on her forehead, and her face has some sooty smudges on it.

SUBTITLE (2): Claudia Honeywood, Ph.D., Project Robotics Engineer.

Translation (2): Dr. Claudia Honeywood, Ingenieurin für Robotik

Claudia (3): The creature will probably be able to block communications with our expedition ship, but we think a tightly focused beam from our subjects to a submersible might be possible. We can capture and retrieve data from it later.

Translation (3): Die Kreatur ist vielleicht in der Lage, die Kommunikation mit unserem Expeditionsschiff zu stören, aber wir glauben, dass ein eng fokussierter Strahl von unseren Versuchspersonen auf ein Unterseeboot möglich sein könnte. Wir können dann später Daten erfassen und abrufen.

Panel 3: A somewhat cleaned-up Claudia showing the submersible to Daphne and Eliza. Daphne seems interested, Eliza almost enchanted.

Claudia (4): Okay, ladies. So, one of you at least is going to be talking to this.

Translation (4): Okay, Mädels. Mindestens eine von euch wird hiermit sprechen.

Eliza (5): Ooh, it’s so cute!

Translation (5): Ooh, das ist so süß!

Panel 4: Claudia fitting something behind Eliza’s ear.

Claudia (6): This sensor will transmit biometrics. It will also scan your brain’s speech center and allow you to provide some narration of your experiences.

Translation (6): Dieser Sensor überträgt biometrische Daten. Außerdem scannt er euer Sprachzentrum im Gehirn, damit ihr über eure Erfahrungen berichten könnt.

Eliza (7): I really want to try that…

Translation (7): Das will ich ausprobieren…

Claudia (8): You will. We need testing.

Translation (8): Das kannst du bald. Wir müssen es testen.

 Köder (Deutsch/Langseitige Version)
Köder (Deutsch/Dia-Version)

Köder 034

Daphne möchte kleine Kinder, Eliza, süße Tiere retten.

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PAGE 34 (Four panels)

Panel 1: Daphne and Eliza sit next to one another on a comfortable-looking couch, being interviewed.

Daphne (1): The charitable contribution was a big thing for me.

Translation (1): Die Wohltätigkeit war mir sehr wichtig.

Eliza (2): Yeah, me too!

Translation (2): Ja, mir auch!

Daphne (3): It’s really an issue of effective altruism.

Translation (3): Dabei geht es um effektiven Altruismus.

Panel 2: A thin-but-healthy African child spooning something nourishing into her mouth while looking at the viewer with large and grateful eyes.

CAPTION – DAPHNE NARRATING (4): Estimates vary depending on details of methodology, but a consensus view is that a million dollars well spent on hunger and disease relief could easily save thirty lives.

Translation (4):Die Schätzungen schwanken je nach der gewähkten Methode, aber man geht davon aus, das seine Million Dollar sinnvoll gegen Hunger und Krankheit eingesetzt leicht dreißig Menschenleben retten können.

Panel 3: Daphne and Eliza on the couch again.

Daphne (5): One for thirty seems like a pretty good trade to me, another way of living a life that matters.

Translation (5): Einer gegen dreißig, das klingt für mich nach einem guten Deal. So hat mein Leben einen Sinn.

Unseen interviewer (out-of-panel balloon) (6): And what are you contributing to, Eliza?

Translation (6): Und wofür warden Sie spenden, Eliza?

Eliza (7): Well, I’ve always loved animals.

Translation (7): Naja, ich habe schon immer Tiere geliebt.

Panel 4: Eliza, dressed differently than she is for the interview, cradling a sad-looking little puppy in her arms, comforting it.

CAPTION – ELIZA NARRATING (8): A million dollars in humane society relief goes a long way.

Comment (8): By “humane society relief,” Eliza means charity directed toward an organization like the American Humane Society, which devotes itself to promoting the welfare of non-human animals, so this phrase should be translated accordingly.

Translation (8): Eine Million Dollar für den Tierschutz können eine Menge bewirken.

 Köder (Deutsch/Langseitige Version)
Köder (Deutsch/Dia-Version)

Köder 033

Die beiden "Gewinnerinnen" des Wettbewerbs um den Platz als Köder treffen sich

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PAGE 33 (Two panels)

Panel 1: Probably smaller inset above. Eliza and Daphne meeting in an office somewhere, shaking hands somewhat tentatively.

CAPTION – TURPENTINE NARRATING (1): Eventually, we were down to two candidates, one to serve in the principal attempt and the second as an alternate.

Translation (1): Schließlich blieben zwei Kandidatinnen übrig, eine für den ersten Versuch und eine als Ersatz.

Eliza (2): Uh, hi!

Translation (2): Hi!

Daphne (3): How do you do?

Comment (3): The English phrase “how do you do” is often conflated with “how are you?” but this is incorrect. “How do you do” is not an inquiry after someone’s health or metnal state the way “how are you?” might be. Rather, it is a form of greeting used by someone of formal manners or high social status when introduced to someone for the first time. One responds to “how do you do” with “how do you do.” It should be translated accordingly.

Translation (3): Hallo!

Panel 2: Eliza and Daphne sitting at a table in a richly-appointed conference room of a major law firm. Across from them sit some serious-looking lawyers. Eliza is signing something.

CAPTION – TURPENTINE NARRATING (4): We had them sign agreements of various kinds: consents to the procedure, agreements to prominent mention in all publications related to the project, and also contracts with compensation of a sort: a charity of each’s choosing would get a contribution of $1,000,000 upon each’s completion of her…contribution.

Translation (4): Sie mussten verschiedene Verträge unterzeichnen: Einwilligungen zum Verfahren, Einwilligungen zur öffentlichen Nennung in allen Veröffentlichungen im Zusammenhang mit dem Projekt sowie Verträge bezüglich der Vergütung: Eine Wohltätigkeitsorganiation nach Wahl der Versuchspersonen würde 1.000.000 US-Dollar erhalten, sobald sie ihren…Beitrag…geleistet haben.

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Köder 010

Eliza Fanshaw besiegt die Angst vor dem Tod mit Philosophie.

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PAGE 10 (Four panels)

Panel 1: Still in the same apartment where the interview is taking place, but Eliza is now on tiptoes taking a heavy book down from a a high shelf.

Unseen interviewer (1): Seriously, aren’t you afraid?

Translation (1): Haben Sie denn keine Angst?

Eliza (2): I have something to make the fear go away. Have you heard of the Roman poet Lucretius?

Translation (2): Ich weiß, wie ich die Angst besiege. Kennen Sie den römischen Dichter Lucretius?

Panel 2: Close-up around some text, the following lines from Lucretius’s De rerum natura, set in a very old typeface or (better if possible) as medieval manuscript: “respice item quam nil ad nos ante acta vetustas/temporis aeterni fuerit, quam nascimur ante./hoc igitur speculum nobis natura futuri/temporis exponit post mortem denique nostram.

CAPTION – ELIZA NARRATING (3): He explains that we didn’t exist for an eternity before being born, and that wasn’t bad. So why should it be bad once we stop existing?

Translation (3): Er sagt, dass wir vor unserer Geburt nicht existierten, und das war nicht schlecht. Warum sollte es also schlecht sein, wenn man nicht mehr existiert?

Panel 3: Eliza, now sitting cross-legged in her big wicker chair. She has the large book she brought down in Panel 1 resting open on her lap. She’s pointing down at something on a page.

Unseen interviewer (4): And you buy that?

Comment (4): “And you buy that?” is an idiom in American English, the literal meaning of which is “Do you really believe that?”

Translation (4): Und das glauben Sie?

Eliza (5): It’s what David Hume told James Boswell as Hume was wasting away, about to die. But Hume was calm and even told jokes.

Translation (5): Das sagte auch David Hume zu James Boswell, als Hume auf dem Sterbebett lag. Doch Hume war ruhig und erzählte sogar Witze.

Panel 4: Eliza looking down at the page of the book open on her lap, reading.

Eliza (6): From Boswell’s account: “I asked him if the thought of annihilation never gave him any uneasiness. He said not the least; no more than the thought that he had not been, as Lucretius observes.”

Comment (6): Eliza is quoting from a real literary work, James Bosewell’s Life of Johnson. If there is a public domain version of the Life in your target language, you are encouraged to substitute its text for your own translation.

Translation (6): Wie Boswell schreibt: “Ich fragte ihn, ob der Gedanke an die Entwerdung ihm kein Unbehagen bescherte. Er sagte jedoch, dies sei mitnichten der Fall; nicht mehr als der Gedanke, niemals existiert zu haben, wie ihn Lucretius denkt.”

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Köder 009

Der Gedanke an das höchste erotische Erlebnis weckt Eliza Fanshaw auf.

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PAGE 9 (Three panels)

Panel 1: Eliza in her wicker chair, being interviewed. She looks like she’s listening intently to to the interviewer’s question.

Unseen interviewer (1): I suppose I can understand your interest in…unusual experiences, but still, this would be your last such experience.

Translation (1): Ich glaube, ich kann nachvollziehen, warum Sie an…ungewöhnlichen Erfahrungen Interesse haben. Allerdings könnte das Ihre letzte Erfahrung sein.

Eliza (2): That’s right.

Translation (2): Das stimmt.

Panel 2: Eliza stretched out on her wicker chair, one leg extended long, her hand settled between her legs.

Eliza (3): But perhaps instead of a long string of experiences, a string that’s just going to diminish in quality as I get older and older, I might want to have one experience that surpasses them all.

Translation (3): Doch vielleicht wünsche ich mir statt einer langen Anreihung von Erfahrungen, die umso mehr in Vergessenheit geraten, je älter ich werde, eine einzige Erfahrung, die alle anderen übertrifft.

Panel 3: Close-up on Eliza’s face. Her eyes are closed.

Eliza (4): It sort of gets me hot just thinking about it.

Comment (4): “Gets me hot” is a colloquial expression meaning “causing me to be sexually aroused.”

Translation (4); Es erregt mich schon, wenn ich nur daran denke.

 Köder (Deutsch/Langseitige Version)
Köder (Deutsch/Dia-Version)

Köder 003

Eliza Fanshaw liebt eine Sache mehr als jede andere, und das ist Sex!

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PAGE 3 (Four panels)

Panel 1: ELIZA FANSHAW (“Eliza”) sits in a big wicker chair in a kind of hippie-ish apartment. She’s a bubbly-sexy blond girl. She wears thin cotton tie-dyed shirt that stretches a bit over her breasts (she’s obviously braless) and a floral skirt and sandals. Her posture indicates she’s being interviewed.

Eliza (1): People ask me, “What on earth do you think you’re doing, Eliza?” and “Don’t you know you have your whole life ahead of you?”

Comment (1): The material in quotation marks are things that Eliza has been hearing about her plans and which she is quoting back to the interviewer. The expression “what on earth” is a figurative expression meant to express incredulity or surprise. It shouldn’t be translated literally – substitute an equivalent expression if one exists in the target language.

Translation (1): Die Leute fragen mich “Was denkst du eigentlich, was du da tust, Eliza?” oder “Weißt du nicht, dass dein ganzes Leben noch vor dir liegt?”

Eliza (2): And I see their point but, the thing is, about me…

Translation (2): Und ich weiß, was Sie meinen, aber es ist so…

SUBTITLE (3): Eliza Fanshaw, prospective subject.

Translation (3): Eliza Fanshaw, Potenzielle Versuchsperson

Panel 2: Close-up on Eliza’s smiling face, which should emphasize that she has a cute little snub nose.

Eliza (4): …is that I think that the most amazing thing about being alive…

Translation (4): …ich finde einfach, dass das absolut Beste am Leben…

Eliza (5): … is sex!

Translation (5): …Sex ist!

Panel 3: View of Eliza (in very soft focus, to the point that we can scarcely identify her as Eliza) naked, seen from behind on top of a guy).

CAPTION – ELIZA NARRATING (6): I’m not supposed to say things like this, but ever since I was fifteen, I have been seeking out sexual adventure.

Comment (6): “Ever since I was fifteen” is short for “ever since I was fifteen years old.”

Translation (6): Ich sollte das wohl nicht sagen, aber seit ich fünfzehn war, suche ich sexuelle Abenteuer.

CAPTION – ELIZA NARRATING (7): I’ve even acted in some experimental adult films, just to see what it would be like.

Comment (7): “Adult films” here is a semi-euphemism for pornographic films, or at least films with explicit sexual content.

Translation (7): Ich habe sogar bei einigen experimentellen Erotikstreifen mitgespielt, einfach um zu erfahren, wie das so ist.

Panel 4: Eliza, back in the same pose as in Panel 1.

Unseen interviewer (out-of-panel balloon) (8): And what was it like?

Translation (8): Und wie war es?

Eliza (9): It was awesome!

Translation (9): Es war fantastisch!

Eliza (10): But I don’t think anything could compare with those movies I saw in Anthro.

Comment (10): “Anthro.” This is a colloquial way for Eliza to say that she saw the movies in a college-level class in Anthropology.

Translation (10): Aber nichts kann mit den Filmen mithalten, die ich in den Vorlesungen zur Anthropologie gesehen habe.

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Impariamo l’italiano LXXXIII: Esca 084

Un appello per onorare il sacrificio.

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PAGE 84 (Three panels, long one across the top).

Panel 1: Long view showing the table set out with the portraits of the three women Eliza, Daphne, and Claudia, with other arrangements.

CAPTION – UU Minister speaking (1): Let us think of the women we commemorate today as our Praxithea, Theope, and Eubule.

Translation (1): Pensiamo alle donne che oggi commemoriamo come Praxithea, Theope e Eubule.

Panel 2: Close-up of a particular mourner, showing signs of grief. The details are at the artist’s discretion.

CAPTION – UU Minister speaking (2): Let us honor and not disdain their sacrifices.

Translation (2): Facciamo onore e non disdegniamo i loro sacrifici.

Panel 3: Close-up view on the UU Minister again. Her head is bent forward and her eyes are closed.

CAPTION – UU Minister speaking (3): For is that not what human decency really requires?

Translation (3): Non è forse questo ciò che richiede veramente la decenza umana?

  Esca (Italiano/Versione a pagina lunga)
Esca (Italiano/Versione con slider)