1. Welcome to my presentation
Course paper
Theme; Metaphor
Done by: Oymatova M

2. Contents I. INTRODUCTION II. MAIN PART
Metaphor Structure Terms and categorization Metaphor and Simile
Metaphors in literature and language
Metaphors in historical linguistics
III. CONCLUSION
BIBLIOGRAPHY

3. INTRODUCTION
In a short period of time Uzbekistan has achieved much success in developing not only in its economy and social life, but also in the sphere of culture and education. As in many other aspects of life the situation changed in a language policy. Much attention is paid now to teaching foreign languages. As the English language becomes one of the most popular language, leaner of this language and teachers are looking for the best ways of learning and teaching them.
The aim and purpose of the work is based on detailed study of metaphors, which play an important role in lexicology and stylistics. According to this general aim the following particular tasks are put forward. 1. to give deep view of metaphors.
2. to reveal types of metaphors.
3. to give the usage of metaphors with the help of examples.
Literary overview. While writing the work I studied and used many books devoted to the stylistics and lexicology. They are: I. R. Galperin. “Stylistics” , Higher School Publishing House. M. 1971; I. V. Arnold. “The English Word”, V. SH. Moskva ; J. Buranov, A. Muminov. “A Practical Course in English Lexicology”, Ukituvchi. T and additional materials from Word Book Encyclopedia and Internet.
The structure of the work. This work consists of Introduction, Main Part, Conclusion and the list of used literatures.

4. II. MAIN PART Metaphor
This work is about metaphor in literature and rhetoric. For metaphors in cognitive linguistics, see conceptual metaphor. For metaphors in psychotherapy, see therapeutic metaphor. For metaphors in computer science, see interface metaphor.
Metaphor (from the Greek: μεταφορά - metaphora, "a transfer", in rhetoric "transference of a word to a new sense", from μεταφέρω - metaphero, "to carry over, to transfer") is language that directly compares seemingly unrelated subjects. In the simplest case, this takes the form: "The [first subject] is a [second subject]." More generally, a metaphor is a rhetorical trope that describes a first subject as being or equal to a second subject in some way. Thus, the first subject can be economically described because implicit and explicit attributes from the second subject are used to enhance the description of the first. This device is known for usage in literature, especially in poetry, where with few words, emotions and associations from one context are associated with objects and entities in a different context.
Within the non rhetorical theory a metaphor is generally considered to be a concluded equation of terms that is more forceful and active than an analogy, although the two types of tropes are highly similar and often confused.

5. Structure
The metaphor, according to I. A. Richards in The Philosophy of Rhetoric (1936), consists of two parts: the tenor and vehicle. The tenor is the subject to which attributes are ascribed. The vehicle is the subject from which the attributes are borrowed. Other writers employ the general terms ground and figure to denote what Richards identifies as the tenor and vehicle. Consider:
All the world's a stage,
And all the men and women merely players;
They have their exits and their entrances; — (William Shakespeare, As You Like It, 2/7)
This well-known quotation is a good example of a metaphor. In this example, "the world" is compared to a stage, the aim being to describe the world by taking well-known attributes from the stage. In this case, the world is the tenor and the stage is the vehicle. "Men and women" are a secondary tenor and "players" is the vehicle for this secondary tenor.

6. Terms and categorization
The following are the more commonly identified types of Metaphor[1]:
An extended metaphor, or conceit, sets up a principal subject with several subsidiary subjects or comparisons. The above quote from As You Like It is a very good example. The world is described as a stage and then men and women are subsidiary subjects that are further described in the same context.
An epic or Homeric simile is an extended metaphor containing details about the vehicle that are not, in fact, necessary for the metaphoric purpose. This can be extended to humorous lengths, for instance: "This is a crisis. A large crisis. In fact, if you've got a moment, it's a twelve-story crisis with a magnificent entrance hall, carpeting throughout, 24-hour porterage and an enormous sign on the roof saying 'This Is a Large Crisis.'" (Blackadder)
A mixed metaphor is one that leaps from one identification to a second identification that is inconsistent with the first one. Example: "He stepped up to the plate and grabbed the bull by the horns," where two commonly used metaphoric grounds for highlighting the concept of "taking action [1] I.R. Galperin. Stylistics. M. “Higher school” 1977

7. Metaphor and Simile
Metaphor and simile are two of the best known tropes and are often mentioned together as examples of rhetorical figures. Metaphor and simile are both terms that describe a comparison: the only difference between a metaphor and a simile is that a simile makes the comparison explicit by using "like", "as", or "than." The Colombia Encyclopedia, 6th edition, explains the difference as: a simile states that A is like B, a metaphor states that A is B or substitutes B for A.
According to this definition, then, "You are my sunshine" is a metaphor whereas "Your eyes are like the sun" is a simile. However, some describe similes as simply a specific type of metaphor (see Joseph Kelly's The Seagull Reader (2005), pages ). Most dictionary definitions of both metaphor and simile support the classification of similes as a type of metaphor, and historically it appears the two terms were used essentially as synonyms.

8. Metaphors in literature and language
Metaphor is present in written language back to the earliest surviving writings. From the Epic of Gilgamesh (one of the oldest Sumerian texts):
My friend, the swift mule, fleet wild ass of the mountain, panther of the wilderness, after we joined together and went up into the mountain, fought the Bull of Heaven and killed it, and overwhelmed Humbaba, who lived in the Cedar Forest, now what is this sleep that has seized you? - (Trans. Kovacs, 1989)
In this example, the friend is compared to a mule, a wild donkey, and a panther to indicate that the speaker sees traits from these animals in his friend. The Greek plays of Sophocles, Aeschylus, and Euripides, among others, were almost invariably allegorical, showing the tragedy of the protagonists, either to caution the audience metaphorically about temptation, or to lambast famous individuals of the day by inferring similarities with the caricatures in the play.

9. Metaphors in historical linguistics
In historical onomasiology or, more generally, in historical linguistics, metaphor is defined as semantic change based on similarity, i.e. a similarity in form or function between the original concept named by a word and the target concept named by this word. Example: mouse 'small, gray rodent' > 'small, gray, mouse-shaped computer device'[1].
Some more recent linguistic theories view language as by its nature all metaphorical; or that language in essence is metaphorical.
The term 'metaphor', as the etymology of the word reveals, means transference of some quality from one object to another. From the times. of ancient Greek and Roman rhetoric, the term has been known to denote the transference of meaning from one word to another. It is still widely used to designate the process in which a word acquires a derivative meaning. A metaphor becomes a stylistic device when two different phenomena (things, events, ideas, actions) are simultaneously brought to mind by the imposition of some or all of the inherent properties of one object on the other which by nature is deprived of these properties. Such an imposition generally results when the creator of the metaphor finds in the two corresponding objects certain features which to his eye have something in common. [1] V.A. Kukharenko. Seminars in style. M. 1971

10. CONCLUSION
The term 'metaphor', as the etymology of the word reveals, means transference of some quality from one object to another. From the times. of ancient Greek and Roman rhetoric, the term has been known to denote the transference of meaning from one word to another. It is still widely used to designate the process in which a word acquires a derivative meaning. A metaphor becomes a stylistic device when two different phenomena (things, events, ideas, actions) are simultaneously brought to mind by the imposition of some or all of the inherent properties of one object on the other which by nature is deprived of these properties. Such an imposition generally results when the creator of the metaphor finds in the two corresponding objects certain features which to his eye have something in common. "Dear Nature is the kindest Mother still" (Byron) the notion Mother arouses in the mind the actions of nursing, weaning, caring for, etc., whereas the notion Nature does not. There is no true similarity, but there is a kind of identification. Therefore it is better to define metaphor as the power of realizing two lexical meanings simultaneously. Due to this power metaphor is one of the most potent means of creating images.

11. BIBLIOGRAPHY Internet sites http://en.wikipedia.org/wiki/Metaphor"
I.R. Galperin. Stylistics. M. “Higher school” 1977.
I.V. Arnold. The English Word. M
L.E Grinberg., V.D Kuznets., A.V. Kumacheva., G.V. Melser. Exercises in Modern English Lexicology. M., 1960
L.T. Boboxonova, Ingliz tili stilistikasi. T., O’qituvchi – 1995.
V.A. Kukharenko. Seminars in style. M. 1971
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О. С. Ахманова. Словарь лингвнстических терминов. М., 1966.
Ш.Мухторов, Раҳматуллаев. Ҳозирги ўзбек адабий тили. Т. “Ўзбекистон”
Э. С. Азнаурова. Очерки по стилистике слова. Ташкент, 1973.
Internet sites
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Dictionary.com Unabridged