In 1927, a chance encounter on a New York sidewalk with the media mogul Condé Nast made the gamine beauty Lee Miller a magazine cover girl and modeling sensation. Later, as the lover and muse of the artist Man Ray, her face and body were preserved in some of the most striking solarized portraits of the Surrealist age.

1927年，假小子气的美女李·米勒(Lee Miller)在纽约的人行道上偶然遇见媒体大亨康德·纳斯特(Condé Nast)，从而成为杂志封面女郎和轰动一时的模特。后来，作为艺术家曼·雷(Man Ray)的情人和缪斯，她的脸庞和身体留存在超现实主义时期的一些最引人注目的过度曝光的肖像照中。

But Miller’s place in history was ultimately secured by her work on the other side of the lens, first as a fashion photographer and later with her documentation of life in Europe during World War II.

不过，米勒在历史上的地位最终因她在镜头另一侧的作品而确立，先是作为时尚摄影师，后来是记录“二战”期间欧洲的生活。

Appointed Vogue’s official war photographer in London, Miller, who died in 1977 at the age of 70, captured scenes from the Blitz and intimate snapshots of life on the British home front. Later, as one of a handful of female front-line photographers, she accompanied American forces to document the D-Day aftermath, Allied advance and eventual liberation of the Dachau and Buchenwald concentration camps.

米勒（她于1977年70岁时去世）被任命为《Vogue》杂志驻伦敦的正式战地摄影师，她捕捉到了闪电战的情景以及英国大后方的生活情况。后来，作为少数几位前线女摄影师之一，她跟随美军记录了诺曼底登陆之后的情况，盟军的前进，以及达豪集中营(Dachau)和布痕瓦尔德集中营(Buchenwald)的最后解放。

Her candid and devastating photographs of victims and perpetrators of Nazi oppression were widely circulated, while a haunting shot of Miller, naked and filthy, snapped by a Life magazine photographer as she symbolically washed away the horror she had witnessed from the bathtub of Hitler’s abandoned Munich apartment became a seminal liberation image.

她抓拍的纳粹压迫的受害者和行凶者的可怕照片广为传播，而《Life》杂志的一位摄影师抓拍到她在希特勒遗弃的慕尼黑公寓浴缸里擦洗赤裸肮脏身体（象征着洗去她看到的恐怖情景）的照片也同样令人难以忘怀。

Those pictures, and many more, have been included in “Lee Miller: A Woman’s War,” a current exhibition of her life and work at the Imperial War Museum in London, and an accompanying book with the same name, by Hilary Roberts. As their shared title would suggest, the two retrospectives focus specifically on her vision of gender during the war, her exploration of the role women played throughout the period and the impact it had on their position in society.

那些照片，还有其他很多照片，都被收入伦敦帝国战争博物馆(Imperial War Museum)正在举办的关于她生活和作品的展览“李·米勒：一个女人的战争”(Lee Miller: A Woman’s War)中，以及同时出版的同名图书中，图书作者是希拉里·罗伯茨(Hilary Roberts)。展览和图书的名字表明，重点在于回顾她对战争时期女性的看法，以及她对女性在那个时期发挥的作用及其对她们社会地位影响的探索。

“In many respects, Miller’s life before the Second World War had been defined by her femininity,” said Ms. Roberts, who is also curator of the exhibit. “She may have belonged to the first generation of women entitled to vote but was well aware she lived in a man’s world. Photography offered Miller an outlet for her personal frustration and a means of taking control.”

罗伯茨也是这场展览的策展人。她说：“从很多方面讲，米勒在‘二战’前的生活主要在于她的女性魅力。她可能属于第一代获得投票权的女性，但是她非常清楚自己生活在一个由男人主导的世界里。摄影给米勒提供了一个排解个人受挫感的渠道，也提供了一种获得控制权的方式。”

Most of Miller’s subjects throughout her body of work displayed are women, and many of the 150 photographs featured have not been published before. Her prewar catalog experiments with complex lighting systems creating artful and abstract shadows, while sculptural nudes with separated limbs and portraits of women and their lovers are clearly dissections of female subjugation.

展出的主要是米勒以女人为拍摄对象的照片，150张照片中有很多从未出版过。她战前的作品主要是运用复杂的灯光，创造出巧妙而抽象的光影，而四肢分离的雕塑般的裸体照片以及女人和她们的爱人的肖像照显然是对女性主导权的探究。

From 1940, Miller regularly produced glamorous shoots for British Vogue tinged with her early Surrealist leanings. As the war progressed, the magazine then became a critical strategic conduit for government ministries on persuading women how they could and should behave during times of conflict.

从1940年起，米勒经常为《Vogue》英国版拍摄带有她早期超现实主义倾向的迷人照片。随着战争的进行，这本杂志成为政府部门劝导女人在战争时期应该以及能够如何行事的关键战略渠道。

“It seems pretty silly to go on working for a frivolous paper like Vogue,” she said, then added, “It may be good for the country’s morale, but it’s hell on mine.” But over time, her work moved from the studios, where she had documented how to dress stylishly amid rationing and how shorter hair could be chic as more and more women began working in factories, to raw photographic essays on life on the home front.

她说，“继续为《Vogue》这样的无聊杂志工作很愚蠢”，而后又说，“它也许有利于鼓舞这个国家的士气，但对我来说却像地狱”。但随着时间的推移，她的工作从摄影棚（她在这里记录如何在配给时期穿得时髦以及如何让短发显得时髦，因为越来越多的女人开始在工厂里工作）转移到了对后方生活的真实记录。

From nurses in uniform caring for the wounded, to female searchlight crews of the Auxiliary Territorial Service, the women’s branch of the British army, in their big bear coats and female fighter pilots seated stoically in their cockpits, Miller reinforced that in her sympathetic view, plucky, feisty and levelheaded women were the backbone of the war effort at home.

从穿制服的照顾伤员的护士，到身穿熊皮大衣的英军陆军本土女子勤务队(Auxiliary Territorial Service)探照灯操作员，到驾驶舱坚忍的女飞行员——米勒透过镜头强调自己对她们的赞赏：这些勇敢、顽强、冷静的女人才是后方的支柱。

In Europe, where subjects included shaven-headed Frenchwomen accused of collaborating with the Germans, cold-eyed nuns, homeless street urchins and women in ordinary domestic scenes amid the urban rubble, her work becomes more nuanced.

她在欧洲的拍摄对象包括因被控与德军勾结而被剃光头的法国女人，冷静的修女，无家可归的流浪儿，以及城市瓦砾堆中寻常家庭场景里的女人。她的作品变得更加微妙。

“Germany is a beautiful landscape dotted with jewel-like villages, blotched with ruined cities and inhabited by schizophrenics,” Miller wrote in a dispatch for Vogue from the liberation front lines in 1945, taking the magazine into new editorial territory. “Mothers sew and sweep and bale, and farmers plough and harrow; all just like real people. But they aren’t. They are the enemy.”

1945年，米勒在解放前线（这扩大了该杂志的报道领域）发给《Vogue》的新闻快报中写道：“德国是一个美丽的地方，点缀着宝石般的村庄，遭到毁坏的城市玷污了这里，这里住着很多精神分裂症患者。母亲们缝补打扫整理，农夫们耕种，看起来都像有血有肉的人。可实际上他们不是。他们是敌人。”

Both the book and exhibition stress the emotional and psychological toll Miller’s experiences took on her. As Antony Penrose, her son from her marriage to Sir Roland Penrose, the British Surrealist artist, writes in the book’s introduction, “There is no erase button for the traumatic images that enter our minds.”

这本书和这场展览都强调米勒的经历对她造成的情绪和心理伤害。就像她的儿子安东尼·彭罗斯(Antony Penrose)在这本书的序言中说的那样：“进入我们头脑中的创伤性画面永远没有清除键。”安东尼是在米勒嫁给英国超现实主义艺术家罗兰德·彭罗斯爵士(Sir Roland Penrose)后生的孩子。

Mr. Penrose also suggests that his mother, the victim of a childhood rape that infected her with gonorrhea and who later became a chronic alcoholic and depressive, battled with her many unexpressed traumas and suffered from post-traumatic stress disorder in the postwar years.

彭罗斯还说，他的妈妈童年时遭到强奸，染上淋病，后来长期酗酒，精神抑郁，经受内心隐秘创伤的折磨，战后患上了创伤后应激障碍综合征。

After a few botched assignments in which she struggled to meet deadlines, her photographic career ended along with much of her reputation. At the time Miller died, her work was near forgotten; all of the images featured in the exhibition are from the 60,000 negatives Mr. Penrose found in the attic after her death. Few publications noted her death with an obituary (The New York Times did not). He has since worked aggressively to restore her critical reputation, and his biography of his mother, “The Lives of Lee Miller,” now looks set to be made into a movie (perhaps with Kate Winslet in the lead role).

后来米勒为了赶截稿日期而搞砸了几次拍摄任务后，她的摄影事业因此终结，她的名气也基本随之消失。到米勒去世的时候，她的作品几乎被人遗忘。这次展览的所有照片都来自彭罗斯于母亲去世后在阁楼上找到的6万张底片。几乎没有哪个媒体为她写讣告（《纽约时报》也没有）。后来，彭罗斯努力恢复她的声誉，他写的关于妈妈的传记《李·米勒的生活》(The Lives of Lee Miller)，现在还要拍成电影（可能由凯特·温斯莱特[Kate Winslet]主演）。

“Although I hardly knew her while she was alive,” he said, “I have become aware of much of her life and personality through the legacy of these images.”

彭罗斯说：“虽然她在世时，我几乎不了解她，但是通过这些照片，我对她的生活和性格有了很多了解。”