WORD COMPOUNDS CONTAINING THE COMPONENT «WAR» IN MACRO-LINGUOPOLITICAL SYNERGETICS OF WARTIME COMMUNICATION

Abstract

The article examines word compounds containing the component “war” as an integral part of wartime communication – one of the key objects of macro-linguopolitical synergetics. The analysis covers texts representing different functionalstylistic registers across three historical periods World War I, World War II, and the Russian-Ukrainian war and identifies the specific features of wartime communication in the domestic and foreign policy dimensions. The study of word combinations in official business texts from the WWI period has shown that wartime communication was conducted through official correspondence, telegrams, orders, and operational reports, in particular in the form of directives and communiqués. Military-political terminology predominated in these documents. In contemporary journalism, the distinct editorial lines of newspapers shaped domestic wartime communication – above all The Manchester Guardian, which became a media intermediary between the state and society. The Washington Post likewise documented, there was a breakdown in foreign policy wartime communication during the Battle of the Somme in 1916. The press widely used war metaphors and military-political terminology. It has been found that in literary texts of the WWI era, wartime communication appears as a counterpoint of two registers – the death of the protagonist and the impersonal frontline report, which is especially clearly traced in E. M. Remarque’s novel “All Quiet on the Western Front”, in part through its phraseological units. By contrast, in Ernest Hemingway’s “A Farewell to Arms”, wartime communication articulates the macro-interaction of diplomacy and ideology and models the balance of power in war, relying on military-political terms. The analysis showed that wartime communication during WWII was conducted by means of official documents (directives, memoranda, communiqués). A separate format consisted of inter-Allied conferences at which plans for the defeat of the common enemy were coordinated. The mechanism was implemented according to the principle of “centralized planning–decentralized execution,” with lexemes marked by war, military-political terms, and metaphorical comparisons playing an important role. The wartime press amplified the illocutionary force of official communications from reports on the bombing of Nagasaki and Japan’s surrender to the publication of anthologies of letters by amateur writers. The instruments of wartime communication included lexemes marked by war, as well as military-political terminology. The analysis characterizes wartime communication in artistic discourse – from depictions of combat operations to the issue of forced socialization in the concentration camp. In Primo Levi’s “If This Is a Man”, the domestic-political dimension of wartime communication appears as an aesthetically mediated “micro-politics of the camp,” articulated through lexemes that encode a hierarchy of coercion. Instead, in J. R. R. Tolkien’s “The Lord of the Rings” trilogy, foreign policy wartime communication models the coordinated interaction of allies – a coalition with a distinct geopolitical identity of the “West,” where a range of phrases function as military-political markers. The analyzed material shows that, for wartime communication during the Russian-Ukrainian war, the legal framework is decisive: appeals to the UN Charter, resolutions, public statements at meetings of the Security Council, as well as procedural steps by the International Court of Justice – all of this forms a common regulatory normative-informational space. Within this frame, military-political terminology is widespread. A number of journalistic publications are highlighted in which wartime communication serves as a “stress test” of policy, legitimizing worst-case-scenario planning while simultaneously focusing attention on the domestic-political dimension. These materials employ military-political terminology, lexemes with military-political connotations, as well as war metaphors. In the artistic dimension, wartime communication, as expressed through micro-episodes in Matt Gallagher’s “Daybreak” and Artur Drazek’s “Bridge in the Darkness” models both interstate signals and domestic-political accents.