E.Kassirer, D.Lakoff, M.Johnson, E.Mackormack,
and H.Ortega-i-Gasset. Other scholars like
M.A.Arbib, N.D.Arutyunova, A.Vejbitskaya,
R.D.Leng, E.Mackormack, I.P.Merkulov, M.Minsky,
have made significant contributions regarding the
theory of frames and associative images. Scholars
like J.Searle, Yu.S.Stepanov, F.Wheelwright have
focused their studies on metaphors, generative
semantics, and the cognitive, communicative,
emotional, and volitional influencing functions of
metaphor. R.Yakobson, O.N.Laguta, among others,
have conducted scientific studies on the gradual
development of metaphorology. In our republic,
scientists such as M.Mirzaev, M.Mirtojiev,
M.Mukarramov, Z.Tohirov, and S.Usmonov have
examined metaphors from various perspectives.
In the new stage of Uzbek linguistics, several
scientific studies on metaphors have emerged.
Particularly, from the scientific observations and
conclusions of linguists like D.Khudayberganova,
Sh.Makhmaraimova, and G.Kabuljonova, it's evident
that studying the Uzbek language from the
perspective of metaphor theory is vital.
However, the sociolinguistic features of the
anthropomorphic metaphor in linguistic, cognitive,
and lexicographic aspects have not been sufficiently
addressed in existing scientific works. This study
aims to examine anthropomorphic metaphors in
various discourses (artistic, journalistic, and
scientific) and determine their sociolinguistic value
and social significance.
Traditional views on metaphor consider it merely
as a linguistic unit or a contextual growth, without
taking into account its functions that facilitate the
exchange of ideas. However, thought itself possesses
a metaphorical character; it emerges through
comparison and is expressed in language. The
scientist I.M. Sechenov, who was the first to study the
psycholinguistic nature of metaphor, proved the
process of transformation of human emotions into
symbols through purely physiological factors.
By the 1930s, the English linguist A.A. Richards
proposed naming the constituents of the metaphor as
“content, essence” and “shell, figurative (image)”.
Richards considered metaphor as an organic
phenomenon that emerges in the process of
interaction of conceptual structures situated in layers
deeper than linguistic combinations, and existing at
the foundation of words.
G.N. Sklyarevskaya highlights that in the 1960s
and 1970s, metaphor was studied from four
perspectives - nominative-subject, formal-logical,
psychological, and linguistic. She notes that these
studies have evolved into eleven independent
directions in recent years (Sklyarevskaya G. N.
(1993)).
In addition to this classification, three main stages
can be identified in the history of the artistic-
philosophical interpretation of metaphor: 1)
interpretation of metaphor as a special type of
comparison; 2) an interactive concept - its proponents
believe that the collision of different levels of
meaning in linguistic devices creates a special context
that allows us to perceive all objects in a new way; 3)
the concept of the "semantic turn", which involves the
development of new perspectives on the world,
resulting from the interaction of various "linguistic
landscapes" that shape the cultural landscape of
language.
O.A. Svirepo describes the three main
mechanisms of metaphor formation as follows: 1)
semantic (developed by Black, Richards, Rotbart, and
others); 2) pragmatic (developed by Cohen, Marglit,
Shiblz, Lakoff, and Johnson); 3) semiotic
(investigated by Henle).
As previously noted, the study and research of
metaphor in world linguistics is generally conducted
according to the classification proposed by Russian
linguist O. Laguta: 1) Ancient metaphorology
(Aristotle, Philodemus, Theophrastus, Cicero,
Quintilian); 2) Medieval metaphorology (Isidore of
Seville, the Venerable Bede, Georgius Choeroboscus,
Philipp Melanchthon); 3) New Age metaphorology;
4) 20th-century metaphorology, which involves new
aspects of investigation, such as defining its
boundaries.
Words related to human organs and other similar
phenomena may undergo metaphorical
transformation over time. For instance, 'eye' initially
referred to the human organ of vision before it was
extended metaphorically to denote similar-looking
objects in nature – the 'eye' of a ring, 'eye' of a needle,
or 'eye' of a spring, etc. Until now, scientific texts in
the Uzbek language devoted to the study of
anthropomorphism have hardly been analysed. These
metaphors have mainly been examined through
literary texts. To fully uncover the specific features of
anthropomorphic metaphors, it is necessary to
analyse texts of different styles from linguistic,
sociolinguistic, and linguacultural perspectives.
Uzbek linguistics also features numerous studies
on metaphors, which serve as a means for deeper
understanding of the world. For example, B.
Sarimsakov considers a metaphor to be a literary
innovation, differentiating it from a simile (tashbeh)
based on the omission of comparative words
An analogy involves two components that form a
comparison. A metaphor is distinguished by the