Abstract Stanley Kubrick’s anti-war film Full Metal Jacket (1987) dramatically represents US Marine Corps basic training during the Vietnam War as both gruelling and brutalising. The brutal, linguistically aggressive and physically intimidating scenes purport to detail the dehumanising process that Marine Corps recruits were put through in preparation for combat during that period. In the film, the recruits are trained by Gunnery Sergeant Hartman, played by the actor R. Lee Ermey, who is himself an ex-Marine Corps drill instructor (1965–1967) and who also served in Vietnam in 1968. As a result of his experience as an instructor, Ermey was given free rein by Kubrick to write his own dialogue for the abusive barrack room and field training scenes in order to lend the drama an air of authenticity (see Ermey 2017). Within the fictional world of the film, the intense training and disciplinary regime ultimately causes one recruit, Private Leonard Lawrence, to crack psychologically. Private Lawrence is nicknamed ‘Gomer Pyle’ by Hartman upon their first meeting, this name being a direct allusion to the hapless character of the same name who was a US Marine recruit in the sitcom Gomer Pyle, U.S.M.C., which ran from 1964–1969 – contemporaneously with the time period in which Full Metal Jacket is set. This insulting allusion is merely the start of a long line of linguistically impolite/aggressive and ultimately physically aggressive interactions which Lawrence/Pyle suffers at the hands of Hartman, both directly and, later in the film as a result of Hartman’s orchestrations, from the other recruits. Under this unrelenting barrage of impoliteness, aggression, and abuse, Lawrence/Pyle eventually shoots Hartman dead before turning his rifle on himself and committing suicide. Thus, the film argues that the dehumanising effect of the basic training, which was ostensibly carried out to toughen up and mentally prepare conscripted recruits for combat in Vietnam, had a profound, brutalising and (potentially) utterly destructive effect on those subjected to it. In this article, we explore the creative linguistic aggression displayed by the character of Hartman. We focus particularly on the reasons underlying the creativity of Hartman’s impoliteness and aggression, and argue that these are essentially to foreground the seriousness of the training regime which the recruits must follow.

中文翻译：

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斯坦利·库布里克（Stanley Kubrick）的《全金属夹克》中充满侵略性的创造性语言不礼貌

摘要斯坦利·库布里克（Stanley Kubrick）的反战电影《全金属外套》（Full Metal Jacket）（1987）生动地代表了越南战争期间美国海军陆战队的基础训练，既残酷又残酷。野蛮的，语言激进的和身体上令人生畏的场景旨在详细说明海军陆战队新兵经过准备的非人道化过程，以准备在此期间进行战斗。在影片中，新兵接受了由枪手里特·艾尔梅（R. Lee Ermey）扮演的Gunnery Sergeant Hartman的训练，他本人是前海军陆战队的演习教练（1965-1967年），并于1968年在越南服役。在担任导师的经历中，库布里克（Kubrick）放任了爱美（Ermey）的职责，为在恶劣的营房和实地训练场景中撰写自己的对话，以使这部戏剧具有真实感（见爱美（Ermey）2017）。在电影的虚构世界中，严格的训练和纪律制度最终导致一名新兵伦纳德·劳伦斯（London Lawrence）在心理上产生裂痕。哈特曼（Hartman）在第一次会面时就将“私人劳伦斯”昵称为“戈梅尔·皮尔”，这个名字直接暗示了同名倒霉的人物，后者是美国海军陆战队在情景喜剧演员戈梅尔·皮尔（USMC）于1964–1969年间招募的–同时设置“全金属夹克”的时间段。这种侮辱性的暗示仅仅是一连串的语言不礼貌/激进的，最终是身体侵略性的互动的开始，劳伦斯/派尔在哈特曼的手中直接或后来由于哈特曼的编排而在电影中遭受了对方的折磨新兵。在这种无情，侵略的顽强弹幕下，劳伦斯/派尔（Lawrence / Pyle）最终将哈特曼（Hartman）射死，然后将步枪对准自己自杀。因此，这部电影认为，基本训练的非人性化作用，表面上是为了加强和为应征入伍的越南新兵提供心理准备，对受其打击的人具有深远的，残酷的和（完全）破坏性的作用。在本文中，我们探讨了哈特曼（Hartman）角色所表现出的创造性语言侵略。我们特别关注哈特曼的不礼貌和侵略的创造力背后的原因，并认为这些本质上是为了反映新兵必须遵循的训练制度的严肃性。这部电影认为，基本训练的非人性化作用，表面上是为了加强和为应征入伍的越南人提供心理准备，对受其打击的人产生了深远，残酷和（完全）破坏性的作用。在本文中，我们探讨了哈特曼（Hartman）角色所表现出的创造性语言侵略。我们特别关注哈特曼的不礼貌和侵略的创造力背后的原因，并认为这些本质上是为了反映新兵必须遵循的训练制度的严肃性。这部电影认为，基本训练的非人性化作用，表面上是为了加强和为应征入伍的越南人提供心理准备，对受其打击的人产生了深远，残酷和（完全）破坏性的作用。在本文中，我们探讨了哈特曼（Hartman）角色所表现出的创造性语言侵略。我们特别关注哈特曼的不礼貌和侵略的创造力背后的原因，并认为这些本质上是为了反映新兵必须遵循的训练制度的严肃性。对其施加残酷和残酷的破坏力。在本文中，我们探讨了哈特曼（Hartman）角色所表现出的创造性语言侵略。我们特别关注哈特曼的不礼貌和侵略的创造力背后的原因，并认为这些本质上是为了反映新兵必须遵循的训练制度的严肃性。对其施加残酷和残酷的破坏力。在本文中，我们探讨了哈特曼（Hartman）角色所表现出的创造性语言侵略。我们特别关注哈特曼的不礼貌和侵略的创造力背后的原因，并认为这些本质上是为了反映新兵必须遵循的训练制度的严肃性。