By RICHARD GOLDSTEIN   文/理查德·格尔德斯丁

Joe Rosenthal, the Associated Press photographer who captured the enduring image of the American fighting man in World War II with his depiction of five Marines and a Navy corpsman raising a huge American flag over the Japanese island of Iwo Jima, died Sunday in Novato, Calif. He was 94.

乔·罗森塔尔周日在加利福利亚州诺瓦托去世，享年94岁。这位美联社摄影师用他拍摄的五名海军陆战队员和一名海军医护兵在日本硫黄岛上空升起一面巨大的美国国旗，为第二次世界大战中的美国士兵留下了永恒的形象。

His death was announced by his daughter, Anne Rosenthal.

他离世的消息是他女儿安娜·罗森塔尔宣布的。

He had been rejected for military service because of abysmally poor eyesight, but in one-four-hundredths of a second — the shutter timing on his Speed Graphic camera — Joe Rosenthal took the most famous photograph of the Second World War.

由于视力极差，乔·罗森塔尔服兵役遭到拒绝，但是在他的格拉菲（Speed Graphic）相机设定的1/400秒的快门时间里，他拍下了第二次世界大战中最著名的照片。

His photograph of the flag-raising atop Mount Suribachi on Feb. 23, 1945, may be the most widely reproduced photo in American history. It was re-created on at least 3.5 million Treasury Department posters publicizing a massive war-bond campaign. It was engraved on three-cent Marine Corps commemorative stamps that broke Post Office records for first-day cancellations in 1945. It was reproduced as a 100-ton Marine Corps War Memorial bronze sculpture near Arlington National Cemetery. And it brought Mr. Rosenthal a Pulitzer Prize.

他于1945年2月23日拍摄的折钵山顶升旗的照片被广泛地复制，可以堪称美国历史之最。它被印到至少350万张财政部的海报上，用于大规模的战争债券宣传活动。它被印到面值三美分的海军陆战队纪念邮票上，这套邮票在1945年打破了邮局首日盖销纪录。以它为样板，在阿灵顿国家公墓附近海军陆战队战争纪念馆建成了一个100吨重的青铜雕像。而且，这张照片还为罗森塔尔先生赢得了普利策奖。

But almost from the day the photograph was emblazoned on the front pages of Sunday newspapers as a symbol of embattled patriotism, Mr. Rosenthal faced suspicions that he staged the shot, posing the Marines. He always insisted that he recorded a genuine event, and others on the scene corroborated his account.

这张照片登上了当时星期天各家报纸的头版，成为战时爱国主义的一种象征。但几乎从那天起，罗森塔尔先生就不断遭到质疑，即他导演了这张照片，对这些海军士兵进行了摆拍。他一直坚持说自己真实地记录了事件，当时在场的其他人也都证实了他的说法。

“The picture was not posed,” Louis Burmeister, a former Marine combat photographer who was among four military photographers alongside Mr. Rosenthal as the flag went up, said in a 1993 interview for “Shadow of Suribachi,” by Parker Bishop Albee Jr. and Keller Cushing Freeman.

1993年，路易斯·伯迈斯特在接受帕克·毕晓普·小阿尔比和凯勒·库欣·弗里曼为撰写《折钵山阴影》一书所做的采访时说：“这张照片不是摆拍的。” 伯曼斯特曾做过海军战地摄影师，当年这面旗升起的时候，他是和罗森塔尔在一起的四名军事摄影师之一。

“If it was posed, we would have probably had their faces toward us,” Mr. Burmeister said. “You notice, in the picture, nobody’s facing us.”

“如果是摆拍，我们可能会让他们面对我们，” 伯曼斯特先生说。“你看，照片上没有人是面对我们的。

That corroboration was buttressed by color motion-picture film of the flag-raising, photographed by Marine Sgt. William Genaust, a combat cameraman, at the same time from nearly the same vantage point. It shows the flag, affixed to a pipe, going up in an unbroken sequence.

海军中士威廉姆·格瑙斯特是一名战地摄影师，他从几乎相同的角度在同一时间所拍摄的彩色电影胶片为这一说法提供了佐证。胶片以完整的连续镜头显示，国旗绑在一根水管上被竖了起来。

Mr. Rosenthal said would say he was lucky to catch the flag-raising at its most dramatic instant, producing a masterpiece of composition acclaimed as a work of art.

罗森塔尔先生说，他很幸运抓拍到了升旗最生动的那个瞬间，创作了一幅被誉为艺术作品的摄影杰作。

“The sky was overcast, but just enough sunlight fell from almost directly overhead, because it happened to be about noon, to give the figures a sculptural depth,” he wrote in Collier’s magazine on the 10th anniversary of the flag-raising.

“天空虽然阴沉，但是因为恰巧是中午时分，充足的阳光几乎是从头顶正上方照射下来，赋予了人物雕塑般的立体感。”在升旗10周年时他在《科利尔》杂志发表的一篇文章里写道。

“The 20-foot pipe was heavy, which meant the men had to strain to get it up, imparting that feeling of action,” he wrote. “The wind just whipped the flag out over the heads of the group, and at their feet the disrupted terrain and the broken stalks of the shrubbery exemplified the turbulence of war.”

“水管长达20英尺，分量很重，也就是说士兵们必须竭尽全力把它竖起，这样就赋予了一种动感，”他写道。“风刚刚将旗吹起，在士兵们的头上飘扬，在他们的脚下，杂乱不堪的地面和残梗断茎的灌木形象地表明了战争所造成的混乱。”

“The characters create an ascending motion, but they’re frozen in time in a brilliantly precise way,” Alan Trachtenberg, the author of “Reading American Photographs: Images as History, Mathew Brady to Walker Evans,” said in a 1997 interview with The New York Times. “And it’s more than just raising a flag. It’s a sense of culmination, of triumph, not just over an enemy but over the challenge of war itself. It’s become an iconic image, like Uncle Sam.”

“这几个人做出了一种向上的动作，但被及时而又恰到好处地定格了下来，”阿伦• 特兰切滕伯格1997年接受《纽约时报》采访时说。他是《解读美国图片：作为历史的图像，从马修·布雷迪到沃克·伊文斯》一书的作者。“并且这不仅仅是升起一面旗。它有一种终结的含义，胜利的含义，不仅是战胜了敌人，而且是战胜了战争本身的挑战。它像山姆大叔一样，成为了一种符号化的形象。”

Joseph John Rosenthal was born on October 9, 1911, in Washington, D.C., the son of Russian immigrants. He chose his first camera at age 12 from a catalogue in exchange for cigar-store coupons.

约瑟夫·乔·罗森塔尔1911年10月9日出生在华盛顿一个俄罗斯移民家庭。12岁时，他用雪茄店礼券从一份商品目录中换取了他的第一架照相机。

In 1930, a year after finishing high school, he was hired as an office boy by the Newspaper Enterprise Association, and two years later he became a reporter-photographer for The San Francisco News. At the time the United States entered World War II, Mr. Rosenthal was a photographer in the San Francisco bureau of The Associated Press.

1930年，中学毕业一年后，他被新闻业联合会雇用为勤杂工，两年后，他成为《旧金山新闻报》的文字兼摄影记者。美国参加二战的时候，罗森塔尔是美联社驻旧金山记者站的一名摄影师。

After being declared 4-F by the armed forces because he could see only one-twentieth as well as an average person, Mr. Rosenthal joined the United States Maritime Service, taking photos of Atlantic Ocean convoys. In March 1944, he went to the Pacific on assignment for the A.P. and later photographed the invasions of New Guinea, Hollandia, Guam, Peleliu and Angaur.

由于罗森塔尔的视力只有正常人的二十分之一，军队认为他不符合服兵役的条件，于是他就加入了美国海运管理处，为大西洋运输队拍摄照片。1944年3月，他被美联社派往太平洋地区，后来拍摄了入侵新几内亚、霍兰迪亚、关岛、贝里琉岛和安佳岛的照片。

On Feb. 19, 1945, Mr. Rosenthal accompanied the early waves of a 70,000-man Marine force ordered to seize Iwo Jima, a 7.5 square miles of black volcanic sand about 660 miles south of Tokyo. The island, defended by 21,000 Japanese troops, held airstrips that were needed as bases for American fighter planes and as havens for crippled bombers returning to the Mariana Islands from missions over Japan.

1945年2月19日，一支7万人的海军陆战队奉命占领硫黄岛，罗森塔尔跟随先期部队行动。硫黄岛面积7.5平方英里，覆盖着黑火山砂，位于东京以南约660英里处。该岛由2.1万日本驻军守卫，岛上有简易机场，美国战斗机需要用它来作为基地，而从日本上空执行完任务后返回马里亚纳群岛的受创轰炸机则需要用它来作为备降机场。

Although they suffered heavy casualties, by the fifth day the Marines had silenced most opposition from Japanese soldiers dug into caves on Mount Suribachi, an extinct volcano 546 feet high at Iwo Jima’s southern tip.

虽然海军陆战队伤亡惨重，但是到了第五天，他们已压制住了钻到折钵山岩洞中的大部分日军的抵抗。折钵山是一座死火山，高546英尺，位于硫黄岛南端。

At about 10:30 a.m., a group of Marines raised a 54-inch-by-28-inch American flag at the summit, and the ceremony was photographed by Sgt. Louis Lowery of the Marine magazine Leatherneck.

上午大约10点30分，一群海军陆战队员在山的顶峰升旗一面长54英寸宽28英寸的美国国旗，升旗仪式被海军陆战队杂志《海军陆战队员》的路易斯·劳瑞中士拍摄了下来。

As Mr. Rosenthal later recalled the events, he and several combat photographers who were elsewhere on the mountain were soon told about the flag-raising by Sergeant Lowery. They went to the summit, where they spotted men from the 28th Regiment, Fifth Division, preparing to raise a second, larger flag — one that could be seen easily by Marines all over Iwo Jima and by sailors on the ships offshore.

罗森塔尔先生后来回忆此事说，当时他和几名战地摄影师都在山上其他地方，很快就从劳瑞中士那里得知了升旗的消息。他们赶到顶峰，发现第五师第28团的士兵正准备再升起一面更大的国旗——这样便于整个硫黄岛上的海军陆战队员和近海舰船上的水兵都能看到。

Mr. Rosenthal descended just inside the lip of the volcano’s crater to gain proper focusing distance, then propped himself on rocks and a sandbag taken from an abandoned Japanese emplacement in order to peer over some brambles. He clicked his shutter as the second flag — which measured 8 feet by 4 feet, 8 inches — went up and the first flag was lowered.

罗森塔尔先生下到火山口的内侧，以寻找适当的焦距，为了让视线越过一些刺藤，他靠在了几块岩石和一个从遗弃的日军掩体上搬来的沙袋上。第二面旗——长8英尺宽4英尺8英寸——竖起来的时候，他按下了快门，随后第一面旗被降了下来。

The triumphant portrait, representing the first seizure by American troops of territory governed as part of the Japanese homeland, struck a tremendous emotional chord on the home front and resonated deeply as a symbol of the diversity in American life.

这一欢欣鼓舞的画面标志着美国军队第一次占领了作为日本本土组成部分的管辖领土，极大地触动了后方民众的心弦，引起强烈的共鸣，成为美国生活中多样性的一种象征。

The Marine at the far left of the photo, Pfc. Ira Hayes, was a Pima Indian from Arizona. The man next to him, Pfc. Franklin Sousley, was a Kentuckian. Pharmacist’s Mate 2d Class John Bradley of the Navy came from the Wisconsin dairy lands, and Sgt. Michael Strank, a Pennsylvanian, was the son of Czechoslovak immigrants. (They were largely screened from view in the photo.)

照片中最左端的海军陆战队员一等兵艾拉·海斯是一名皮马印第安人，来自亚利桑那州。紧挨着他的是一等兵富兰克林·索思理，肯塔基人。海军助理药剂师、二等兵约翰·布拉德利来自威斯康星州奶牛场，迈克·斯特兰克中士来自宾夕法尼亚，出生在捷克斯洛伐克移民家庭。（照片上他们大都被挡住了，无法看到。）

Pfc. Rene Gagnon, second from the right, was from New Hampshire, of French-Canadian descent. The Marine kneeling at the far right was first identified as Sgt. Henry Hansen of Massachusetts, but the Marine Corps later maintained that it was, in fact, Cpl. Harlon Block of Texas.

一等兵雷内·加格嫩（右二）来自新罕不什尔州，是法裔加拿大人的后裔。最右边的那个处于跪姿的士兵最初被当成是来自马萨诸塞州的哈里·汉森中士，但是后来海军陆战队认为，事实上它是下士哈朗·布劳克，来自德克萨斯州。

The flag-raising was not the culmination of the fight for Iwo Jima. Heavy combat lay ahead before the battle ended on March 26 with the Marines having suffered almost 26,000 casualties, representing more than one-third of the invasion force. (Ninety-five percent of the Japanese defenders were killed.)

升旗仪式并不是硫黄岛争夺战的结束。激烈的战斗还在后头，直至3月26日战斗结束，海军陆战队伤亡近2.6万人，占参战部队的三分之一以上。（95%的守岛日军被消灭。）

Most of these casualties came after the flag-raising. Private Sousley, Sergeant Strank, Sergeant Hansen and Corporal Block later were killed in action on Iwo Jima. So was Sergeant Genaust, the Marine photographer who took the color motion picture.

大部分人是在升旗之后伤亡的。二等兵索思理、中士斯特兰克、中士汉森和下等兵布劳克后来都在硫黄岛上阵亡。拍摄彩色电影的海军陆战队摄影师格瑙斯特中士也在岛上以身殉职。

The three surviving flag-raisers were ordered home by President Franklin D. Roosevelt in late March, hailed as heroes and sent on a nationwide tour to promote war-bond sales. The men who raised the first flag — and appeared in Sergeant Lowery’s photograph of that ceremony, which appeared in Life magazine — were largely forgotten.

3月底，三名幸存的升旗士兵接到富兰克林·D·罗斯福总统的命令返回美国，被拥为战斗英雄，到全国巡游，推销发行战争债券。升起第一面旗的士兵们——尽管出现在劳瑞中士拍摄的升旗仪式照片上，被《生活》杂志登载——但基本上被遗忘了。

Ira Hayes, who died in 1955 at age 32 after a long struggle with alcoholism, was the best-remembered of the flag-raisers in Mr. Rosenthal’s photograph. Lee Marvin played him in a television movie, “The American,” in 1960 and Tony Curtis portrayed him in a 1962 Hollywood film “The Outsider.”

在罗森塔尔先生的照片上，最为人们所熟知升旗士兵的是艾拉·海斯。他长期酗酒，无法自拔，于1955年去世，享年32岁。1960年，李·马文（Lee Marvin）在电视电影《美国人》（The American）中扮演了他，1962年，在好莱坞电影《局外人》中托尼柯蒂斯扮演了他。

All the survivors of the second flag-raising participated in a re-enactment in the 1949 movie “Sands of Iwo Jima,” starring John Wayne.

升起第二面旗的所有幸存者都参与了1949年约翰·韦恩主演的电影《硫黄岛浴血战》的拍摄。

After the war, Mr. Rosenthal became a photographer for The San Francisco Chronicle and remained with the newspaper until he retired in 1981.

战争结束后，罗森塔尔成为《旧金山纪事报》的摄影师，并一直工作到1981年退休。

In addition to his daughter, Anne, he is survived by a son, Joseph Rosenthal Jr., of Washington State; a brother, Mike Roth, of San Francisco; two grandchildren; and four great-grandchildren. His marriage to Lee Rosenthal, of San Francisco, ended in divorce.

除了女儿安娜外，他身后还有住在华盛顿州的儿子小约瑟夫·罗森塔尔，在旧金山的兄弟迈克·罗思，两个孙子和四个曾孙。他与旧金山的李·罗森塔尔结为伉俪，后来离婚。

On the 10th anniversary of the flag-raising, Mr. Rosenthal reflected on the renown the photograph had brought him.

在升旗10周年时，罗森塔尔对这张照片带给他的声誉进行了深思。

“To get that flag up there, America’s fighting men had to die on that island and on other islands and off the shores and in the air,” Mr. Rosenthal wrote. “What difference does it make who took the picture? I took it, but the Marines took Iwo Jima.”

“为了升起这面旗，美国战士们只有战死在硫黄岛和其他的岛屿、近海以及空中。”罗森塔尔先生写道。“谁拍了这张照片还有什么意义吗？我拿下了这张照片，但是，海军陆战队员却拿下了硫黄岛。”

从符号学的角度来看，图片属于非语言的视觉符号。符号由能指和所指组成，能指是符号本身，所指是符号的使用者通过符号所指的“某物”。而能指和所指之间的关系便是符号的意指作用。意指又分为直接意指和含蓄意指，也叫做明示意和隐含意。符号在直接意指或明示意生成之后，在此基础上会生成新的意义，即含蓄意指/隐含意，而且这个过程会持续下去，这种意义生成的指示过程被称为“神话”。所谓神话，“是指遍及某种文化的一系列广为接受的概念，其成员由此而对自身社会经验的某个特定主题或部分进行概念化或理解。”不难看出，神话其实是一个概念化过程。

这幅新闻作品中的能指包括：温家宝、村民、母鸡。能指与所指共同组成一个符号，意指国家总理在农村考察工作，与村民一起座谈，相互沟通交流。

温家宝（能指E1）——国家总理（所指C1） 第一级序列

中国政府（能指E2）——关心农民生产生活（所指C2）第二级序列

温家宝（E1）的意义可以有很多种：普通中国公民、长者、老人、父亲、爷爷、国家总理等等，但在这一特定环境下，只能选取国家总理（C1）。国家总理温家宝构成的这个符号同时又自然地被赋予新的意义，即中国政府（E2），他代表了中国政府。而他走入农村，走入寻常百姓家，与百姓沟通交流，是出于对旱区百姓生活的关切，对普通百姓疾苦的牵挂，因此，它的所指是中国政府对农民生活的关心与重视。在这样一个意义的递进生成过程中，由温家宝本人——国家总理——中国政府的转喻，温家宝成了中国政府的象征，他的这一举动自然成了中国政府的政治符号。

从村民的角度来看，不论总理身边坐着的，还是身后站着的，虽然只是龙门村的部分村民（能指E1），却无疑成为旱区农民（所指C1），进而中国农民的转喻。记者抓拍的这个瞬间，恰恰是总理和村民绽开笑脸的时刻，也许是总理的一个幽默逗乐了大家，画面凸现出座谈会的气氛相当轻松、愉快、和谐。瞬间恰到好处的把握使读者比较容易地建立这样一个隐喻：领导人与人民融为一体，政府的关心驱散了灾情给人民带来的心头上的阴云，心情为之舒畅。在这里，领导人和政府亲民、爱民的良好形象得以树立。

第三，母鸡。在众人面前没有丝毫恐惧感的母鸡闯入镜头，把头扭向总理，由于总理占据画面的中心位置，村民的目光方向也是总理，母鸡的目光似乎也顺应了众人的目光，一起将我们的视线引导到画面的视觉中心。母鸡一方面可以是农村环境的转喻，一方面可以是家禽、家畜乃至动物的转喻，而且在这一特定的环境中（领导人和众人座谈），它与领导人、村民一同分享笑声与欢乐，分享这轻松愉悦的时刻，因此它的出现与举动可以神话为社会和谐。这是否隐喻着，虽然遭遇自然灾害，但在中国政府的努力下，却政通人和：社会是和谐的，人与动物也是和谐的。