Metaphors. Metaphorization of professional phrases as a special case of a secondary nomination (on the examples of English and Russian languages) N ET, no, I am alone. There I am alone

Cognitively conditioned perception of the world manifests itself in the fact that, firstly, each ethnos perceives the objective world through the prism of its nationally determined worldview and social experience gained in the process of implementing specific economic work activities in certain natural and geographical conditions; Secondly, the objective world is refracted in national-conditioned mechanisms of knowledge - cognitive models of lingvocreative thinking.

Mental or lingvocreate activity is an important component of the linguistic consciousness. She, according to B.A. Serbrennikova, has a two-way orientation, since, on the one hand, reflects surrounding man Reality, on the other, the most closely associated with the cash resources of the language. Lingvocreate thinking, according to B.A. Serbrennikov, is associative thinking. Another feature is that "it can in each specific language can particularly choke the continuum of the surrounding world" [Serebrennikov, 1983, 169].

Lingvocreate thinking creates the image of the world in each language by reflections. Lingvocreative thinking is the result of reflective-gnoseological activities, it operates with associations, different in carriers of various languages \u200b\u200bdue to various cognitive-conditioned perception of the world. This is a thinking directed at the "earning" of new linguistic entities by transformation (primarily the semantic) in the language of units. The metaphor is born in the process of semantic transformation - transferring the name of one subject to another, with which the first object is associated with the process of lingvocreate thinking.

Cognitive metaphor simulates one object in the concepts of another.

In the cognitive theory of metaphor, it is noted that metaphorization is based on the interaction of two knowledge structures - the cognitive structure - the "source" (source domain) and the cognitive structure of the "Target Domain). In the process of metaphorization, some areas of the goal are structured in the image of the source, in other words, the metaphorical projection (Metaphorical Mapping) or "Cognitive Display" (Cognitive Mapping) [Lakoff, Johnson, 2008] occurs.

In linguistics, metaphors are grouped by thematic attribute. In this case, such metaphors are distinguished as: 1) animalistic (based on animal comparison); 2) anthropomorphic (comparison of objects, plants, animals with man); 3) root metaphors (they refer to the thematic source zone).

The main methods of metaphorization are:

1) personification;

2) genitive metaphors;

3) transfer words from one plane to another;

4) The syntactic position of the word is a syntactically determined value.

Elimination is usually considered as an intake of objects, plants, animals and nature phenomena with properties, signs of people, such as the gift of speech, the ability to think, to make certain actions. It is supplied under the anthropomorphic model, attributing the properties of an animated being - a person in inanimate subjects, the phenomena of nature, for example: Smile clear nature through a dream meets the morning of the year (A.S. Pushkin), Bell, dreamed, woke up the fields (S.Senin).

The genitive of metaphors is a method of metaphorization, when one word in a metaphorical phrase stands in the parental case: flame language languages.

The third method is the transfer of the word from one semantic plane to another, for example: the terms in the literary language receive a new meaning: pulse orbits, fraction, range and etc.

The fourth method is syntactically determined. Vladimir Vinogradov In their work, the "main types of lexical meaning words" considers this concept as "a kind of type of values \u200b\u200bof a syntactically determined nature, it is formed in words that are fixed in a strictly defined function in the proposal" [Vinogradov, 1978]. Indeed, nouns in derivative estimated values \u200b\u200bare used mainly in predicative positions, while in the first place is the position of the fant one, for example: "She although not beautiful, but by nature - gold: kind, soft and clean "(Nikolaev); "... two words can be unheard of strong, and four words - already water" (K. POUST).

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Introduction

1. Metaphor as a way of expressiveness of the speech of fiction

1.1 Artistic Style Speech

Conclusions of 1 chapter

Chapter 2. Practical study of metaphor on the example of the work of Charles Dickens "High Hope"

Conclusions on the 2 chapter

Conclusion

Bibliography

INmaintenance

The metaphor is a universal phenomenon in the language. Its versatility is manifested in space and in time, in the structure of the language and in operation. She is inherent in all languages \u200b\u200band in all the epochs; It covers different aspects of the language. In linguistic science, the problem of metaphor - and as a process of creating new values \u200b\u200bof language expressions during their rethinking, and as ready-made metaphorical importance - was considered long. On this topic there is extensive literature. Work on the study of metaphor continues until now. In the language, various directions studying the metaphor are considered.

The study of metaphor in artistic speech is devoted to scientific research of Galperin I.R. "Stylistics English: textbook (in English)", Arnold I.V. "Stylistics. Modern English ", Gurevich V.V. "English Stylistics (Stylistics of English)", Koksharova N. F. "Stylistics: studies. A manual for universities (in English) ", as well as Igoshina T.S." Metaphor as a means of artistic expressiveness of poster art "(2009), Kurash S. B. (Mazyr)" Metaphor as a dialogue: to the problem of intertext ", and others .

The relevance of this study theme was dictated by the increased interest of domestic and foreign linguists to the problem of metaphors.

The theoretical base of this study was the work of such scientists like Vinokurova T.Yu. (2009), Galperin I.R. (2014), Shakhovsky V.I. (2008), I. B. Golub (2010). Scientific articles, textbooks and teaching aids on the style of Russian and English were attracted as sources for analyzing theoretical material on this issue.

The object of the study is the scope of means of expressiveness of expression in artistic speech.

The subject is a metaphor as an indictment of the language of fiction, its types and functions.

The goal is to explore the characteristics of the metaphor as finely expressive means of the language of fiction style.

To achieve this goal, the following tasks were delivered:

1) consider the metaphor as a way of expressiveness of the speech of fiction;

2) characterize the artistic style of speech;

3) to analyze the types of metaphors;

4) Describe the functioning of the metaphor in modern Russian and English. Metaphor Art Style Production

The work consists of introduction, two main chapters and conclusion. The first chapter of the "metaphor as a way of expressiveness of the speech of artistic literature" is devoted to the consideration of the concepts of the artistic style of speech, metaphor, its entities and functions, in the second "practical study of the metaphor on the example of the work of Charles Dichens" High Hope "" The functioning of the metaphor in the work is carried out.

The methodological basis in accordance with the goal and objectives of the work is a solid sampling method based on the identification of metaphor in the work, the observation method, and also descriptively analytical method.

1. Metaphor as a way of expressiveness of the speech of fiction

1.1 Artistic Style Speech

Stylistics of artistic speech is a special partition of stylistics. The stylistics of the artistic speech finds out how artistic application of the language, combining the aesthetic and communicative functions in it. Features of artistic text, methods for building different types of copyright and methods of reflection in it elements of the described environment, methods for constructing a dialogue, functions of different stylistic layers of language in artistic speech, the principles of sampling of language funds, their transformation in fiction, etc. [ Kazakova, Malewain, Paradise, Fric, 2009: 7]

The features of the artistic style, as the rules include imagery, emotionality of the presentation; widespread use of vocabulary and phraseology of other styles; Use of fine-expressive means. The main characteristic of artistic speech is the aesthetically justified use of the entire spectrum of language means in order to express the artistic world of the writer, delivering aesthetic pleasure to the reader [Kazakov, Malewein, Paradise, Friton, 2009: 17].

According to the Paradise L.M., writers in the work on their artworks use all the resources, all the richness of the Russian national language to create impressive artistic images. These are not only literary language products, but also folk dialects, urban hopes, jargon and even Argo. Therefore, according to the author, most researchers believe that it is impossible to talk about the existence of a special style of fiction: artistic literature "omnivorous" and takes from the Russian nationwide language everything that the author considers it necessary [Paradise, 2009: 15].

Artistic style is the style of artistic literature.

The features of the artistic style can also be called the use of the entire variety of language agents to create imagery and expressiveness of the work. The feature of the artistic style is the aesthetic function [Vinokurova, 2009: 57].

Artistic style as a functional style finds use in fiction, which performs figurative and informative and ideological and aesthetic functions. In order to understand the features of an artistic way of knowing reality, thinking that determines the specifics of artistic speech, it is necessary to compare it with the scientific way of knowledge, determining the characteristic features of scientific speech [Vinokurova, 2009: 57].

Artistic literature, as well as other art types, is inherent in a specific-figurative representation of life, in contrast to the abstrapy, logical-conceptual, objective reflection of reality in scientific speech. For the artistic work, perception is characterized by feelings and rewarding reality, the author seeks to transfer its personal experience primarily, his understanding and understanding of one or another phenomenon [Vinokurova, 2009: 57].

For the artistic style of speech typically, attention to the private and accidental, followed by typical and general. For example, in the "dead souls" by N. V. Gogol, each of the features shown personified some specific human qualities, expressed some type, and together they were a "face" of the modern author of Russia [Vinokurova, 2009: 57].

The world of fiction is "rendered" the world, the reality depicted is to a certain extent the author's fiction, therefore, in the artistic style of speech, a subjective moment plays the main role. All surrounding reality is represented through the vision of the author. But in the artistic text we see not only the world of the writer, but also a writer in the artistic world: His preferences, condemnation, admiration, rejection, etc. With this, emotionality and expressiveness are connected, metaphoricity, meaningfulness of the artistic style of speech [Galperin, 2014: 250].

The lexical composition and functioning of speech-style words have their own characteristics. The words that make up the basis and creating the image of this style are primarily included, the figurative means of the Russian literary language, as well as words, a wide sector of use that implement their value in context. Luxury-specific words are used to a small degree, only for creating artistic confidence in describing certain parties to life [Halperin, 2014: 250].

For artistic style, the speech is characterized by the use of speech meaningful words, which opens additional sense and semantic shades in it, as well as synonymies in all language levels, due to which it appears to emphasize the subtlest shades of values. This is explained by the fact that the author seeks to use all the wealth of the language, to the creation of its unique language and style, to the bright, expressive, shaped text. The author uses not only the vocabulary of the codified literary language, but also a variety of visual means of spoken speech and spacious [Galperin, 2014: 250].

Emotionality and expressiveness of the image in the artistic text are in the first place. Many words that in scientific speeches act as clearly defined abstract concepts, in newspaper and publicistic speech - as socially generalized concepts, in artistic speech - as concrete sensual ideas. Thus, styles are functionally complemented by each other. For artistic speech, especially poetic, inversion is characterized, i.e., a change in the usual word of words in a sentence in order to strengthen the semantic significance of any word or give the entire phrase a special stylistic color. Options for copyright words are varied, subordinate to the overall plan. For example: " All I see Pavlovsk hilly... "(Akhmatova) [Galperin, 2014: 250].

In artistic speech, deviations from structural norms caused by artistic actualization are possible, i.e., by the author of some thoughts, ideas, features important for the meaning of the work. They can be expressed in violation of phonetic, lexical, morphological and other norms [Halperin, 2014: 250].

As a means of communication, artistic speech has its own language - a system of figurative forms expressed by language and extralyinguistic means. Artistic speech along with a non-gravity performs nominative and visual function.

Languagesmi. featureyami. Speech art style are:

1. Heterogeneity of the lexic composition: a combination of book vocabulary with conversational, spurant, dialectic, etc.

Ruttered Kovyl. The steppe on many versts dressed dragging silver. The wind elastically accepted him, changing, Schshanvil, Bugryl, drove it to the south, then to the West of the SIZO-Opal Waves. Where there was a flowing air jet, Kovyl was prayerfully clone, and on his gray-haired, the black trail was lying for a long time.

2. Use of all the layers of Russian vocabulary in order to implement aesthetic function.

Daria Nas The minute was lazy and refused:

- N.es, no, I'm alone. There I am alone.

Where "Tudu" - she did not even know and, going beyond the gate, headed against the hangar. (V. Rasputin)

3. The activity of multivalued words of all style varieties of speech.

Burlit River all in white foam lace.

On the velvet meadows Aleut Maki.

Frost was born at dawn. (M. Privine).

4. Combinatorial increments of meaning.

Words in the artistic context receive new semantic and emotional content, which embodies the figurative thought of the author.

I caught a dream of outgoing shadows,

Existing shadows of the extinguished day.

I boiled to the tower. And trembled steps.

And trembled under the foot to me (K. Balmont)

5. Use to a greater degree of specific vocabulary than abstract.

Sergey pushed heavy door. Under his foot, the step of the porch was barely heard. Two more steps - and he is already in the garden.

Cool evening air was resolved with a blossoming aroma of blooming acacia. Somewhere in the branches, it was overcliped and thinly took his trill the nightingale.

6. Wide consumption of populatory words, emotional and expressive vocabulary, synonyms, antonyms.

Rosehip, probably, since the spring was still snewing on the trunk to the young Osinka, and now when the time came to cope with Osinka his named, all of it broke out with red disunite wild roses. (M. Privine).

In Ertheleva Lane, "New Time" was placed. I said "placed." This is not the word. Reigned, ruled. (Ivanov)

7. Glading speech science

The writer calls each movement (physical and / or mental) and changing the state of stages. The injection of verbs activates the reader voltage.

Grigory go down to Don, carefully perelez through the woven Astakhov base, approached to covered shutters window. It hear the frequent blows of the heart ... quiet knocked in the binding frame ... Aksinya silently sole to the window improved. He saw her on sip to the chest hands and heard futing with her lips her vague moan. Gregory is familiar showed her opened window, stripped off rifle. Axinha opened sash. It became on Zavaling, naked hands Axinissa his neck. They are trembled and beat on his shoulders, these native hands that shiver them transmitted and Gregory. (M.A. Sholokhov "Silent Don")

The imagery and aesthetic significance of each of the element of the artistic style (up to sounds) are dominant. Hence the desire for the freshness of the image, increasing expressions, a large number of trails, a special artistic (appropriate reality) accuracy, the use of special, characteristic only for this style of expressive speech - rhythm, rhymes even in prose [Koksharov, 2009: 85].

In the artistic style of speech other than typical language products, funds and all other styles are used, especially conversational. In the language of artistically literature, spaciousness and dialectisms, words of high, poetic style, jargon, rude words, professionally business turnover, publicism can be used. However, all these agents in the artistic style of speech are subject to the main function - aesthetic [Koksharov, 2009: 85].

If the conversational style of speech performs mainly the function of communication (communicative), scientific and official-business - the function of the message (informative), the artistic style of speech is designed to create artistic, poetic images, emotionally aesthetic effects. All language funds included in the artwork change their primary function, obey the tasks of this artistic style [Koksharov, 2009: 85].

In the literature, the artist's word - the poet, the writer - finds, the only necessary placement of the desired words in order to correct, accurate, figuratively expressing the thought, the transfer of the plot, character, to make the reader empathize the heroes of the work, enter the world created by the author [Koksharov, 2009: 85] .

All this is only available to the language of fiction, so he has always been considered the top of the literary language. The best in the language, the strongest opportunities and the rarest beauty - in the works of fiction, and all this is achieved by the artistic means of language [Koksharov, 2009: 85].

The means of artistic expressiveness are diverse and numerous. These are such trails like epithets, comparisons, metaphors, hyperboles, etc. [Shakhovsky, 2008: 63]

Trails - speech turnover, in which the word or expression is used in a figurative value in order to achieve greater artistic expressiveness. The trail is based on a comparison of two concepts, which are presented to our consciousness close in any respect. The most common types of trail - allegory, hyperbole, irony, litt, metaphor, metonymium, personification, periphrase, synecko, comparison, epithet [Shakhovsky, 2008: 63].

For example: What are you walked aboute.p night, what are you doing insane - personification. All flags will visit us - Synekdoha. Peasant with marigolds, boy with finger - litt. Well, be bored with a plate, my dear - Metonimia, etc.

The expressive means of the language include both stylistic figures of speech or simply figures of speech: anaphor, antithesis, nonsense, gradation, inversion, multi-joint, parallelism, rhetorical question, rhetorical circulation, default, ellipse, epiphara. Rhythm (poems and prose), rhyme, intonation [Shakhovsky, 2008: 63] also belong to the means of artistic expressiveness.

Thus, the style of fiction, as a special partition of stylistics is characterized by the imagery, emotionality of the presentation; wide use of vocabulary and phraseology of other styles; using fine-expressive means.

1.2 Essence of metaphor and its functions

The classification of trails learned by lexical stylistics rises to antique rhetoric, as well as the corresponding terminology [Golub, 2010: 32].

The traditional definition of the metaphor is associated with the etymological explanation of the term itself: the metaphor (gr. Metaphorb - transfer) is the transfer of the name from one item to another on the basis of their similarity. However, linguists determine the metaphor as a semantic phenomenon; caused by imposing on the direct meaning of the word of extension, which the word becomes the main thing in the context of the artwork. At the same time, the direct meaning of the word serves only the basis for the author's associations [Golub, 2010: 32].

The basis of the metaphorization can be the similarity of the most different signs of objects: colors, shapes, volume, appointment, position in space and time, etc. An Aristotle noticed that they would remove good metaphors - it means to notice the similarity. The observant eye of the artist finds common features Almost in all. The surprise of such comparisons gives a special expressiveness metaphor: The sun fits the rays in a plumb (Fet); And the golden autumn ... foliage cries on the sand (Yesenin); The night rushed outside the windows, then swinging the rapid white fire, then compressing in the impenetrable darkness (POUST).

Gurevich V.V. Also determines the metaphor as the transfer of importance based on similarity, in other words - hidden comparison: He. iS. not. a. man., he. iS. just. a. machine - He is not a man, he is a car,their childhood. of. mankind. - childhood of mankind, a. film. star - Star of cinema, etc. [Gurevich V.V., 2008: 36].

Not only objects, but also, actions, phenomena and quality of anything are subjected to transferred in the metaphor. Some books. are to. bE. tasted., others. swallowed., and. some few to. chewed and. digested. (F. Bacon) - some books are tasted, others are swallowed, and only a few - chew and absorbed.; pitiless cold - ruthless cold; cruel. heat. - merciless heat; virgin. sOIL. - Great land (soil); a. treacherous. calm. - treacherously spodle [Gurevich V.V., 2008: 36] .

According to Gurevich V.V., metaphors may be simple, i.e. pronounced word or phrase: Man. cannot live. by bread. alone - not bread alone(In the meaning of satisfaction not only physical needs, but also spiritual), as well as complex (elongated, permanent), to understand which is required a wider context. For example:

The Average New Yorker Is Caught in a Machine. He Whirls Along, He Is Dizzy, He Is Helpless. If He Resists, The Machine Will Crush Him to Pieces.(W. Frank) - The average New Yorks is located in the car trap. He is spinning in it, he has dismissed, it is helpless. If he resists this mechanism, it will cut it into pieces. In this example, the metaphoricity is manifested in the concept of a large city, as a powerful and dangerous machine [Gurevich V.V., 2008: 37].

Metaphoric name transfer occurs also with the development of the word on the basis of the main, nominative value of the derivative value ( back chair, door handle). However, in these, so-called language metaphors, the image is absent than they differ fundamentally from poetic [Golub, 2010: 32].

In the style it is necessary to distinguish individual-author's metaphors that are created by artists for a specific speech situation ( I want to listen to sensual blizzard under a blue look. - Yesenin), and anonymous metaphors that have become the domain of language ( spark feeling, storm of passions etc.). Individually copyright metaphors are very expressive, the possibility of creating them is inexhaustible, as unlimited possibilities for identifying the similarities of various signs of comparated objects, actions, states. Gup I.B. It claims that the antique authors recognized that "there is no more brilliant path, which reports a greater number of bright images than metaphor" [Golub, 2010: 32].

Both basic types of full-known words are subject names and symptoms - capable of metaphorization value. The more descriptive (multi-discovery) and diffuse is the meaning of the word, the easier it gets metaphoric meanings. Among the nouns are metaphorized primarily the names of objects and natural genera, and among the characteristic words - words expressing physical qualities and mechanical actions. The metaphorization of the values \u200b\u200bis largely due to the picture of the world of native speakers, that is, folk symbolism and walking ideas about the realities (figurative values \u200b\u200bof words such as raven, black, right, left, clean, etc.).

Denotic properties already having a title in the language, a shaped metaphor, on the one hand, gives the language of synonyms, and on the other, it enriches the words with figurating values.

There are a number of common patterns of metaphorization values \u200b\u200bof the signs:

1) the physical sign of the subject is transferred to humans and contributes to the allocation and designation of the mental properties of the individual ( stupid, sharp, soft, wide etc.);

2) the subject attribute is converted to an abstract concept attribute (superficial judgment, empty words, time flows);

3) The sign or action of the person belongs to the subjects, the phenomena of nature, abstract concepts (the principle of anthropomorphism: storm crying, tired day, time runs and etc.);

4) Signs of nature and natural genera are transferred to humans (Wed: windy weather and windy man, Fox notices traces and man notices traces).

The metaphorization processes are thus often occurring in opposite directions: from person to nature, from nature to a person, from inanimate to animation and from living to non-living.

Natural place of the metaphor finds in the poetic (in a broad sense) speech in which it serves aesthetic purpose. The metaphor is related to the poetic discourse: the following features: the inseparalness of the image and meaning, the rejection of the accepted taxonomy of objects, the actualization of distant and "random" links, diffuseness, the assumption of various interpretations, the lack of motivation, appeal to imagination, the choice of the shortest path to the essence of the object.

Metaphor translated from Greek denotes transfer. This very ancient reception was used in spells, legends, proverbs and sayings. In his work, writers and poets are very often used.

Under the metaphor, you should understand the use of words or phrases in a figurative sense. Thus, the author gives some individual color to his thoughts, expresses them more refined. Metaphors help poets to more accurately describe the events, the image and thought of the hero.

Exists like a single metaphor (for example, sounds melting, cried grass and branches) and the common lines common ( Only barking the burda yard, yes the chain is ringing (Pushkin)).

In addition to ordinary metaphors, it should be said that there are also hidden. They are difficult to detect, it is necessary to feel that the author wanted to say, and how he did it.

Some metaphors are firmly entered into our vocabulary, we often hear and use them yourself in everyday life: kids flowers of life, diary face student, hanging in the balance, simple as five kopecks et al. Using these expressions, we give the capacious, colorful meaning said.

The metaphor is a hidden comparison, built on the similarity or contrast of phenomena ( Bee for the tribute to fly from Celi wax (Pushkin)).

The metaphor is the turnover of speech, consumption of words and expressions in a figurative value ( golden strand, stand

(about man), the constellation of journalists, Tabun Vasilkov, etc..) [Kazakova, Malevane, Paradise, Friton, 2009: 61]

The metaphor improves the accuracy of poetic speech and its emotional expressiveness.

There are the following varieties of metaphors:

1. The lexical metaphor, or erased, in which the direct value is completely absent; rain goes, time runs, clock arrow, door handle;

2. A simple metaphor - built on convergence of items one by one common feature: hail bullets, spelling waves, lifestyle, feet of table, dust flames;

3. A realized metaphor - a literal understanding of the words of the words constituting the metaphor, focusing the direct values \u200b\u200bof words: Yes, there are no faces on you - only shirt and pants (S.Sokolov).

4. Deployed metaphor - the distribution of the metaphorical image into several phrases or on all the work ( He could not fall asleep for a long time: the remaining husks of the words climbed and tormented the brain, colole in the temples, could not get rid of it (V.Nabokov).

Erased metaphors, according to Halperin, are concepts that worn by time and well-fitted in the language: A Ray of Hope - Light of Hope, Floods of Tears - Breakfasts, A Storm of Indignation - Perturbation Storm, A Flight Of Fancy - Flight Flight, A Gleam of Mirth - a flash of joy, a shadow of a smile is a smile shadow, etc. [Halperin, 2014: 142].

Gurevich V.V. Determines the erased metaphor as too long used in speech, thus, which has lost its freshness of expression. Such metaphors often become idiomatic (phraseological) expressions, which are then fixed in the dictionaries: seeds. of. evil. - Seed evil,a. rooted prejudice. - rooted prejudice,iN. their heat. of. argument - in hot dispute,to. burn. with. desire - burn from desire,to. fish. for compliments. - fish for compliments , to. pRICK. one." s. ears. - to pierce ears [Gurevich V.V., 2008: 37] .

Arnold I.V. It also distinguishes the hyperbolic metaphor, that is, based on exaggeration. For example:

All. days. are nights. to. see till I See thee

And Nights Bright Days When Dreams Do Show Thee Me.

Day without you seemed to me at night

And the day I saw at night in a dream.

Here is an example means days like dark nightsWhat is a poetic exaggeration [Arnold, 2010: 125].

Also in English there are so-called traditional metaphors, i.e. Generally accepted in a period or literary direction, for example, when describing appearance: Pearly Teeth - Pearl Smile, Coral Lips - Coral Lips (Coral Color Lips), Ivory Neck - Smooth, Like Ivory, Neck, Hair of Golden Wire - Golden Hair (gold colors) [Arnold, 2010: 126].

The metaphor is usually expressed by nouns, the verb, and then by other parts of speech.

According to Galperin I.R., identification (likelilation) of the concept should not be equal to the similarity of the value: DEAR NATURE IS THE KINDEST MOTHER STILL - Nature is a kind mother (BYRON). In this case, there is the interaction of the vocabulary and contextual logical value, based on the similarity of the features of two relevant concepts. Nature is compared with her mother, for her attitude to a person. Caring is assumed, but not installed directly [Halperin, 2014: 140].

The similarity is clearly traced when the metaphor is embodied in an attribute word, such as Voiceless Sounds - silent voices, or in a predicative combination of words: Nature-mother [Galperin, 2014: 140].

But the similarities of different phenomena will not be so easily perceived due to the lack of an explanation. For example: In The Slanting Beams That Streamed Through The Open Doorway The Dust Danced and Was Golden - in open door Rushed sinking sun rays, Golden Dusty (O. Wilde) danced in them [Halperin, 2014: 140]. In this case, the movement of the dusty seems to the author coherent, like dance movements [Halperin, 2014: 140].

Sometimes the process of similarities is very difficult to decode. For example, if the metaphor is embodied in adverbs:The Leaves fell sorrowfully - the leaves are sad. Fallen [Galperin, 2014: 140].

Along with the epithet, sync, metonimia, periphyra and other trails, the metaphor is an application of the word (phrases) to the object (concept) to which this word (phrase) does not have a literally nothing relationship; Used to compare with another word or concept. For example: A. mighty Fortress iS. oUR God. - Mighty fortress - our God. [Znamenskaya, 2006: 39].

The nature of metaphor is contradictory.

The metaphor, as one of the most significant trails, has rich manifestations and various forms of incarnation in many areas of social, creative and scientific activities of a modern person. Comprehensive and interested studies of metaphor are of interest as for sciences studying language, speech and literary language, viewing the metaphor as an artistic reception, or a means of creating an expressive image, and for art history [Igoshin, 2009: 134].

The sacrament of metaphors, its consistency with the expressive-emotional character of poetic speech, with the consciousness and perception of a person - all this attracted thinkers, humanitarian scientists, cultural and artists - Aristotle, J.-zh. Rousseau, Hegel, F. Nietzsche and other researchers [Igoshin, 2009: 134].

The properties of the metaphor, such as poetic, imagery, sensuality, which it introduces into speech and literary work, like other trails, are based on the ability of human consciousness to compare [igoshin, 2009: 134].

Kurash S.B. It allocates three types of metaphors depending on the method of implementing the "principle of comparison" by which any comparative trail is built:

1) comparison metaphors in which the described object is directly compared with another object ( colonnade grove);

2) Metaphors-riddles in which the described object is replaced by another

object ( beat hooves on the keys of the Mörzlomwhere the vague keys \u003d

cobblestone; winter carpet \u003d snow);

3) metaphors that attribute the properties of another object described by the described object ( poisonous look, life burned) [Kurash, 2001: 10-11].

Describe the above-mentioned methods of functioning of metaphor in the poetic text.

First, the metaphor can form a text segment, local in structural and peripheral in the semantic plan. In this case, as a rule, the context of the trail is localized within the phrases or one or two proposals and the same number of poetic lines; In texts with respect to large volume, the context of the trail can be more continued. Such a metaphor can be called local. As an example, a metaphorical offer can be given: I went to another insomnia- nurse (Akhmatova), My voice is my mind, but the will does not weaken... [Kurash, 2001: 44].

The structural-semantic core of the text can be represented as a certain general proposition, derived from the generalization of the central subjects of speech and predicates contained in the text. For the text under consideration, it can be represented as: the heroine gets used to K. loss of love. In relation to this semantic core of the text of the segment

I went to another insomnia- nurse It is nothing more than one of its specitizers localized within one sentence and not finding further deployment [Kurash, 2001: 44].

The following case is the performance of the metaphor of the role of one of the key structural and semantic and ideological-shaped elements of the text.

The metaphor localized in the text fragment can implement one of the central or even central microtons of the text, entering the closer figurative and lexico-semantic connections with a nonmetaforic segment of the text. This method of functioning of metaphor is especially characteristic of texts of large volume (prosaic works, poems, etc.), where often there are not one, but several figurative-metaphorical fragments interacting with each other distant, revealing one of the microchems of text and the included, Thus, in the number of text formation factors as a means of ensuring the integrity and connectivity of the text [Kurash, 2001: 44].

As can be seen, the main feature of such texts in relation to the metaphor is their rather clear membership on non-petaforic and metaphorical segments [Kurash, 2001: 44].

Metaphoricity can be viewed as one of the private manifestations of such a universal aesthetic category of poetic texts, as their harmonic organization [Kurash, 2001: 45].

Finally, the metaphor is capable of functioning as a structural and semantic basis, the method of constructing entire poetic texts. In this case, we can talk about the actual text-forming function of a trail leading to the appearance of texts, the boundaries of which coincide with the borders of the trail. In relation to such poetic texts, the term "Text-Trop" was adopted in the special literature, there are also texts among them [Kurash, 2001: 48].

Metaphors, like other means of verbal patterns, have unequal functional activity in different spheres. As you know, the main area of \u200b\u200bapplication of figurative means is fiction. In artistic prose, in the poetry metaphors serve to create an image to enhance the images and expressiveness of speech, the transmission of estimates and emotional - expressive values.

The metaphor performs two main functions - function characterization and function nomination Individuals and classes of objects. In the first case, the noun is occupied by a taxonomic predicate, in the second - subject or other actant.

The source for the metaphor is the characterization function. The meaning of the metaphor is limited to an indication of one or few signs.

The use of metaphor in the actual position is secondary. In Russian, it is supported by the index pronoun: This one lives in the estate of his ex-wife (Chekhov).

Approved in the nominative function, the metaphor loses the imagery: "Bottle's neck", "Pansies", "Nail". The nominalization of metaphorical proposals, in which the metaphor goes into a nominal position, generates one of the types of genitive metaphor: "Envy is poison" - "poison envy", as well as: wine love, stars eye, worm doubt etc.

You can also allocate representative, information, ornamental, predictive and explanatory, saving (saving of speech effort) and the figurative and visual functions of the metaphor.

One of the functions of the metaphor can be called a cognitive function. According to this function, metaphors are divided into secondary (side) and basic (key). The first define an idea of \u200b\u200ba specific object (an idea of \u200b\u200bconscience as "Clawtish beast"), the second define a way of thinking about the world (picture of the world) or its fundamental parts ( "The whole world theater and we are his actors»).

Thus, the metaphor is the transfer of the name from one item to another on the basis of their similarity. Allocate lexical, simple, implemented, deployed metaphors. The metaphor is divided into three types: comparison metaphors, metaphors-riddles of metaphors that attribute the properties of another object described by the described object.

Conclusions of 1 chapter

The style of fiction, as a special section of stylistics is characterized by the image, emotionality of presentation, also to the use of other styles of vocabulary and phraseology; using fine-expressive means. The main function of this speech style is aesthetic function. This style finds use in fiction, performing figurative and informative and ideological and aesthetic functions.

We have established that the means of artistic expressiveness are trails - epithets, comparisons, metaphors, hyperboles, etc.

Among the language features of the artistic style, we highlighted the heterogeneity of the lexic composition, the use of multivalued words of all style varieties of speech, also the use of specific vocabulary instead of abstract, consumption of populatory words, emotional and expressive vocabulary, synonyms, antonyms, etc.

The metaphor, as a stylistic reception, is the transfer of the name from one subject to another on the basis of their similarity. Different scientists allocate lexical, simple, implemented, deployed metaphors. In this chapter of the metaphor, it is divided into three types: comparison metaphors, metaphors metaphors that attribute the properties of another object described by the described object.

Metaphors serve how to create an image, strengthening the images and expressiveness of speech, the transmission of estimated and emotional - expressive values.

The metaphors functions are considered in detail. These include cognitive function, characterization function and function of the nomination, etc. Also highlighted the text-forming function.

Chapter 2. Practical study of metaphor on the example of the work of Charles Dickens "High Hope"

To conduct a study, we have selected and studied examples of metaphor in the work of the Charles Dickens "High Hopes", which are direct interest in our study expressing in their semantic load an estimated characteristic of objects or phenomena, expression and image imagery.

Work on the practical part of this study was carried out over the work of Charles Dickens "Higher Hope".

Metaphors expressing the estimated characteristics of objects or phenomena, expression and imagery of speech were discharged from the work.

The Roman Charles Dickens "High Hope" first saw the light in 1860. In it, English Prosisais raised and believed criticized the problem of the social and psychological disunity between the highest light and a simple working part for his time.

"Higher Hope" is the novel of upbringing, as he tells several stories of young personalities at once.

In the center of the story there is a Philip Pearrip or PIP - a former blacksmith submaster receiving a gentleman education. The love of his life is Estella - the daughter of the killer and a runaway convict, with three years, raising Miss Havisheh as a lady. The best friend of Pipa, Herbert Poket - a native family leaving, who decided to tie his life with a simple girl to Clara, the daughter of the disabled driver, and honest labor in the framework of trading activities. Biddy's rustic girl, with childhood, seeking knowledge, is a simple and kind teacher at school, a faithful wife, loving mother.

The nature of the Pipa is shown in "big hopes" in the dynamics. The boy is constantly changing under the influence of external factors, the main of which is his love for Estelle. At the same time, the main "kernel" of Nature of Pipa remains unchanged. To its natural kindness, the hero is trying to return throughout the entire time of his gentlemen learning.

The humorous component of the novel is expressed in caustic, critical remarks expressed by PIP in relation to certain events, places or people. With the inimitable humor, PIP describes both the disgusting production of Gamlet, which is somehow looking at London.

Realistic features in "big hopes" can be seen both in the social conditionality of character characters and descriptions - a small town of Pipa and a huge, dirty London.

It is worth noting that in the novels of Charles Dickens a lot of rhetorical expressions, such as comparison and metaphor, which are widely used by the author for a detailed outline of physical characteristics or distinctive features of different characters. In the novel "High Hope", Dickens uses the metaphor to describe all the features of characters or objects more bright and figuratively. The metaphor plays a significant role not only to describe individual characters colorfully or comically, but also for underscores the human and inhuman nature of these characters in society compared to other living beings or artificial objects. Dickens also an attempt to produce associations between man and an object in the thoughts of the reader.

Let us analyze the use of metaphor on the example of the book.

1. - A Ghost-Seeing Effect in Joe "S Own Countenance Informed Me That Herbert Had Entered The Room. So Held Out His Hand; But Joe Backed from IT, And Held On By The Bird" S-Nest "In the eyes of Joe, such an expression appeared, as if he saw the spirit himself, and I realized that Herbert entered the room. I introduced them, and Herbert handed Joe's hand, but he backed out of her, tightly clinging to his nest » . Joe protects his hat as a nest with eggs (214). This example has one form-metaphorical fragment. The metaphor is lexical. The metaphor acts as characterization.

2. "Pooh!" Said He, Sluicing His Face, and Speaking Through The Water-Drops; "IT" S Nothing, PIP. I. like. that. Spider though.." - "Pfu! - He breathed with force by typing the water in the palm of his face and tearing in them face. - These are trifles, PIP. BUT Spider I like it" . This example has one form-metaphorical fragment. Spider Mr. Jaggers calls Mr. Dummlala, pointing to his cunning temper and a vile character. This lexical metaphor acts as a nomination function.

3. When I Had Lain Awake A Little While, Those Extraordinary Voices with Which Silence Teems Began to make themselves audible. The Closet Whispered, The Fireplace Sighed, The Little Washing-Stand Ticked, and One Guitar-String Played Occasionally In The Chest Of Drawers. At the Wall Acquired a New Expression, and in Every One Of Those Staring Rounds I Saw Written, Don "T GO HOME "Speak for a while, and I began to distinguish between the wonderful voices, what kind of silence is full of the night: the locker in the corner something is broken, the fireplace sigh, a tiny washbasin tickly, a lonely guitar string started in the chest of drawers. At about the same way, the eyes on the wall took a new expression, and in each of these light circles appeared an inscription: "Do not go home" . Description of impressions of overnight stay at the Hammam Hotel. The metaphor is simple and deployed, common to several lines. The metaphor acts as characterization

4. Its Like Pushing The Chair Itself BACK INTO THE PAST, WHEN WE BEND ABOUT THE ASHES OF THE BRIDAL FEAST. Butt, In The Funereal Room, With that Figure of the Grave Fallen Back in the chair Fixing Its Eyes Upon Her, Estella Loked More Bright and Beautiful Thanfore, and I Was Under Stronger Enchantment - "It seemed that the chair had rolled into the past, just we, as it happened, slowly went on the path around the rest of the wedding pyr. But in this mourning room, under the closer look of the living deception, sitting in the chair, Estella seemed even more dazzling and more painted, and I was even more fascinated. " In this example, the author describes the old, grotesque appearance Miss Havishe, who fell into the chair in the faded wedding dress. In this case, the context of the trail mourning room Localizes within the phrase. The metaphor is implemented and acts as characterization.

5. I. might have been aN. unfortunate. little. bull iN. a. Spanish arena., I. got. sO. smartingly. touched. up. by these moral. goads. "And I, as an unfortunate bull on the arena of the Spanish Circus, painfully felt the injections of these verbal copies." Here the PIP compares himself with a bull in the arena of the Spanish circus. This example has one form-metaphorical fragment. This implemented metaphor is comparison. The metaphor acts as characterization.

6. When. I. was. fIRST. hired. out. as shepherd. t." other side. their world, iT." s. mY. belief. I. shld hA" turned. into a. molloncolly.- mAD. sheep mySelf., if. I. hadN." t. a. hAD. mY. smoke. - "When I was there, on the edge of the world, we defined the mouth of the sheep, I probably would have turned into a sheep, I would not go to the sheep » . The structural semantic core of this example of the text seems to be

Watch what is "metaphorization" in other dictionaries:

Metaphorization - acquisition by the word of the metaphorical value (metaphor) ... Directory for these etymology and historical lexicology

metaphorization - expansion of the semantic volume of the word due to the occurrence of portable values \u200b\u200band enhancing its expressive ... Explanatory translation

Metaphor - (from Greek. μεταφορά transfer) Trop or Speech mechanism, consisting of a word that denotes some class of objects, phenomena, etc., for characterizing or name of an object included in another class, or the name of the other ... ... Linguistic Encyclopedic Dictionary

Artistic and figurative speech concretization - - This is a specific property of the art. Speech, distinguishing it from all other varieties of language communication. It manifests itself in such an intentionally created art organization of language funds in speech tissue art. Works, ... ... Stylistic Encyclopedic Dictionary of the Russian Language

Language picture of the world - Language painting of the world historically established in the ordinary consciousness of this language team and reflected in the language set of ideas about the world, a certain way of perception and device of the world, conceptualization of reality. ... ... Wikipedia

Outophanies of freedom - (from Ontos - the existence, being and Phania - manifestation) the implementation of the ontological impulse. In nature, as such, without a person and his consciousness, knowledge and activities, there is no freedom. There are only causal ties and other determination. By Cant ... ... Projective Philosophical Dictionary

Mean - (Reference) 1) The process of transferring relevant significant information (meaning) to the CONKR. Sign shape (sign or sequence of signs). 2) activities to implement this process. O. is carried out by means of the language of culture ... ... Encyclopedia of cultural studies

METAPHOR - metaphor, metaphoricity (Greek. Metaphorá), view of the trail, transfer of the properties of one subject (phenomenon or aspect of being) to another, on the principle of their similarity in any respect or contrast. Unlike comparison, where both members are present ... ... Literary Encyclopedic Dictionary

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Prab Julian - Prybok (Przyboś) Julian (5.3.1901, Nailing, Rzeszowskoye Voivodeship, ≈ 6.10.1970, Warsaw), Polish poet. He graduated from Jagiellon University (1924). Prints from 1922. In the first collections of poems ("screws", 1925; "both hands", 1926) is implemented ... ... Great Soviet Encyclopedia

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Creative potential of Russian grammar, Remchekova E.N. In this monograph, there is a creative potential of Russian grammar in different types of Russian speech - spoken, artistic, scientific and journalistic, newspaper and journalistic, in ...

In the garden burns the firebird red, but no one can warm.

(S. Yesenin)

In the epigraph - a visual example of a metaphor, which will be discussed. The term of the metaphor itself means transferring the name of the subject (action, quality) on the basis of similarity. Metaphors can rightfully qualify for the dominant role among all trails.

At the heart of any metaphor lies an unnamed comparison of some objects with other connected in our view with a completely different circle of representations. So, the fiery color of the Grozadov Ryabina S. Yesenin compared with the flame, and the metaphor was born: red rowan fire burns.But in contrast to the usual comparison, which is always twisted, the metaphor is universal. After all, the comparison in this case would look like this: The bunches of Ryabina blush like a flame, and autumn tree like a bonfire.

Metaphorization often enhances the image of epithets: The grove was dissuard Golden ... Fire Blue. All these and many other enesenne epithets are metaphorical: they are expressed by words used in a figurative value.

Artists of the Word love metaphors, their use gives speech special expressiveness, emotionality.

The basis of metaphorization can be the similarity of the most different signs of objects: their colors, forms, volume, destination, etc. Metaphors built on the basis of the similarity of objects in color are especially commonly used in the description of nature: in the bazhret and gold dressed forests (A.S. Pushkin); In smoky clouds of purple roses, gleam amber(A.A. Fet). Like the form of objects served as the basis for such metaphors: Birch branches S. Yesenin called silk braids ("Sleepy birks smiled, silk braids ignited"). Admiring the winter outfit of the tree, he wrote: On fluffy branches, a snowy brush blossomed with a white fringe.

Often in the metaphor, the proximity in color and the form of compaable items is combined. So, A.S. Pushkin sick poetic tears and silver dust Fontana Bakhchisarai Palace, F.I. Tyutchev - pearl rain After the spring thunderstorm. The similarity in the appointment of compared items is reflected in this image from the "copper rider": Nature here is destined toEurope cut the window (A.S. Pushkin).

General features in the nature of action, states create great opportunities for the metaphorization of verbs. For example: Burning the heaven of the sky of the sky, the whirlwinds of the snowy ", how the beast she iswarsthatpaylike a child (A.S. Pushkin).

The similarity in the temporary sequence of phenomena opens the path to such metaphorization: I now became a storm in the warehouse, my life, Ile you dreamed me ? As if I am a spring bunker, I had rumped up on a pink horse. And I have C. Yesenin: Dogrit golden flame from bodily wax candle, and the moon Wooden watches cock my twelfth hour.

It is not always possible to clearly determine what the similarity is based on a metaphor. This is explained by the fact that objects, phenomena, actions can be closer not only on the basis of an external similarity, but also on the community of impressions. Such, for example, the metaphorical consumption of the verb in the passage from the "Golden Rose" K. Poustovsky: "The writer is often surprised when some long ago and quite forgotten the case or some detail suddenlybloomin his memory, when they are needed to work. " Flowers bloom, pleased with their beauty; The same joy is brought by the artist in time, the detail required for creativity.

An Aristotle noticed that it means to make good metaphors - it means to notice the similarity. " The observational eye of the word artist finds the following features in a wide variety of items. The surprise of such comparisons gives a special expressiveness metaphor. So the artistic power of the metaphor, it can be said, is directly dependent on their freshness, novelty.

Some metaphors are often repeated in speech: Night quietly descended on the ground Winter enveloped all white bedspread etc. Getting widespread, such metaphors fasten, their figurative value is erased. Not all metaphors are stylistically equal, not any metaphor performs an artistic role in speech.

When a person came up with a name for a curved pipe - knee,he also used the metaphor. But at the same time, the new meaning of the word did not receive aesthetic function, the goal of the names of the name here is purely practical: to name the subject. For this, metaphors are used in which the artistic image is absent. There are a lot of such languages \u200b\u200b("dry") metaphors: parsley Podder, Vintage, Ship Nose, Eye Apple, Needles softwood, table legs. The new meaning of words that developed as a result of such metaphorization is fixed in the language and are given by intelligent dictionaries. However, the "dry" metaphors do not attract the attention of the artists of the word, acting as the usual names of objects, signs, phenomena.

Of particular interest are deployed metaphors. They arise in the case when one metaphor entails new, associated with it in meaning. For example: The grove was dissuaded by Golden Birch Merry Language. Metaphor dissolved "True" by itself metaphors golden and birch language leaves first yellow, become goldenand then fall, dying; And if the carrier of action is grove, then her birch language, cheerful.

Deployed metaphors - especially a vivid image of a speech image. S. Yesenin, V. Mayakovsky, A. Block and other poets loved them. Here are some examples of such metaphorization: In the garden burns the bonfire of Ryabina Red, but no one can warm (S. Yesenin); Parade by turning my pages of troops, I'm going on a dial front; Poems are lead-hard, ready and to death, and to immortal glory; Pooms frozen, pressing the gaps of aimed gaping title to Zhero (V. Mayakovsky). Sometimes poets unfold metaphors into a whole poem. Such, for example, the poem "Three Keys" A.S. Pushkin, "Bowl of Life" M.Yu. Lermontova et al.

They are abused by metaphorizai, often beginner writers, and then the rag of the paths becomes the cause of the stylistic imperfection of speech. Editing the manuscripts of young authors, M. Gorky very often paid attention to their unsuccessful artistic images: "Circular stars, dazzling and burning, as hundreds of sun "","After daytime bake, the land was hot, as a pot, just burned in the furnace skillful potter. But here in the heavenly oven sign up the last lamps. The sky was stamed and ringing burned clay pot - land". Gorky notices: "This is a bad scoffing in words." Among the editorial remarks, M. Gorky, made on the fields of manuscripts of beginner writers, are interesting: against the phrase: "Our commander often jumps forward, shoots eyes On the sides and for a long time he is browsing to a cast card, "Alexey Maksimovich wrote:" These are a young lady, and not commanders "; Having emphasized the image "through the eyes of tears trembling the sky", he asks: "Is it possible to present it? Is it better to just say something about the stars? "

The use of metaphor as "decorated", "ornamental" funds especially indicates the inexperience and helplessness of the writer. Entering in the period of creative maturity, writers very often critically evaluate their former hobbies by funeral images. K. Powesty, for example, wrote about his early, gymnasic verses:

The poems were bad - lush, elegant and, as I seemed to me, pretty beautiful. Now I forgot these poems. I remember only individual stanza. For example, such:

Oh, tear the flowers on the drooping stems!

Rain falls softly on the fields.

And in the edge where the smoke-scarlet autumn sunset is burning, yellowed leaves fly ...

And Opala shines sadness about the beloved Saadi on the pages of slow days ...

Why the sadness "shakes opal" - that neither then I can not explain now. Just fascinated me the sound of words. I did not think about the sense.

The best Russian writers saw the highest dignity of artistic speech in the noble simplicity, sincerity and truthfulness of the descriptions. A.S. Pushkin, M.Yu. Lermontov, N.V. Gogol, N.A. Nekrasov, V.G. Korolenko, A.P. Chekhov and others considered it necessary to avoid false pathos, manners. "Easy, - wrote V.G. Belinsky, - there is a necessary condition for the artistic work, in essence denying any external decoration, all sophistication. "

However, the vicious desire to "speak beautifully" sometimes and in our time prevents some authors simply and clearly express their thoughts. It is enough to analyze the style of student work on literature to make sure that such reproof. The young man writes: "There is no such corner of the earth, where the name of Pushkin would not know, which will be distributed from generation to generation. " In another essay, read: "His works wanted realitywhich is revealed so fully that reading himself plunge at that time. " Trying to express figuratively, one student claims: "Life continues stream in your channel And the other "more expressive" notes: "I sat down in a train and i went through the hard road of life. "

Inappropriate use of metaphors makes the saying ambiguous, gives speech inappropriate comic. So, write: "Although Kabaniha and not digestive Katerina, this fragile flower, increased in the "dark kingdom" evil, but she eaten her feder day and night"; "Turgenev kills His hero at the end of the novel, bringing him an infection in the wound on the finger "; "On the way of entry of Maidannikov in the collective farm there were bulls. " Similar "Metaphoric" Tordeement shall cause irreplaceable damage to style, because the romantic image is divorced, serious, and sometimes the tragic sound of speech is replaced by comic.

So let the metaphors in your speech will only be the source of its bright picture, emotionality and will never be the reason for the decline in the assessment for your workshops!

Task 16.

Give examples of artistic texts with various types of metaphors.

Examples of this kind show that the metaphor as a process is always richer than a simple comparison. And it's not by chance that a look at the metaphor as a comparison is currently replaced by an explanation of it as a metaphorical process based on an analogy. So, I also wrote the sleeper: "It is necessary to immediately note as an unusually narrow and simplifying real state of affairs, that, for example, the metaphor arises from the comparison, if, of course, not expand the concept of comparison to any comparison." It seems that the "nerve" metaphor - some kind of likelihood, which commensurate non-holistic objects, and some similar signs, establishing a similarity on the basis of the coincidence on these features and hypothesis about the possibility of coincidence on others falling in this comparison in focus attention.

Currently, the most popular both in the West and we have the concept of metaphor, called an interactive. According to this concept, in the version of its version that belongs to M. Blake, the metaphorization proceeds as a process in which two objects interact, or two entities, and two operations by which interaction is carried out. One of these entities is the object that is indicated metaphorically. The second entity is auxiliary object that correlates with the already ready-made language name. This entity is used as a filter when forming a view of the first. Each of the interacting entities brings into the result of the process of its association systems, usual in the event of a standard language consumption, which provides recognition by speaking in this language metaphorical meaning. At the same time, the metaphorization assumes a certain semantic container, or the context (for the grammar of the listening), in which, as if, focusing are relevant to designate the first essence of the feature, which is the metaphorical interaction of "participants" of metaphorization. Concepts about filter and focus bring the description of this process with reading in a foreign language, when not all words are clear, but nevertheless it is clear what is being discussed.

These essences (in the concept of black, these are out-of-language objects, or referents), interacting in cognitive filtering and focusing processes, form a new system of features that constitutes a new conceptual content embodied in the new value of the name used in the metaphor, which is perceived at the same time in the "literal "His meaning is in an isolated presentation.

The concept of Black received a wide resonance in the logical and philosophical directions of language analysis. The very idea of \u200b\u200binteraction is confessed fruitful, since it allows you to observe the metaphor in action. This idea is developed within the framework of the conceptual theory of meanings and other Western authority in the field of metaphor - I. Richards, which, unlike M. Black, operating the concept of the essence (object, referent), prefers the modeling of the metaphorical process as interaction "of two thoughts about two different things. . And these thoughts, arising at the same time, are expressed with the help of one word or expression, the value of which is the result of their interaction. " It is interesting to note that the "basis" (i.e., the emerging idea of \u200b\u200bthe new object) creates a reference, and the "carrier" (i.e., the auxiliary object of metaphors as a certain language expression with its "literal" meaning) sets the meaning - that method What is the new object thinks.

The concept proposed by Richards is of considerable interest for linguistics, as it allows you to operate not only by the idea of \u200b\u200bthe interaction of two objects (referents), but also in such a fact as a thinking reflection that excites those associative-shaped views that are also included in a new concept. .

The attention that is paid in this section of the logical side of the metaphor, it is not by chance that the linguistic synthesis can, in our opinion, lead to a constructive (model) description of the metaphorical process as the main way to create a language picture of the world in the acts of the secondary nomination. And the main thing in such a linguological grammar metaphor is the inclusion of the human factor actually in it. He introduces to the metaphorization that ethno-, socio, a psycholinguistic complex, which makes it possible to combine the specific and abstract, the logic of the first and second orders, hypothetism and reality, reproductive-associative and creative thinking in the metaphor and synthesize the proprietary prohibitions.

We propose to consider the metaphor as a model of allocation based on lingvological grammar with the introduction of those components that complement it information about the hypotheticality of metaphor and anthropometry in the interaction itself, during which a new value is formed.

As a basis for analyzing the metaphorical interaction, the nominative aspect may be, because the metaphor is always the use of an already ready-made name of the name as a method for creating a new value. In the metaphorical interaction, at least three complexes, heterogeneous by their nature participate.

The first complex is the basis of metaphors as a thought of the world (subject, event, property, etc.). It initially protrudes most likely in the inner speech, that is, in the ending form [Zhinkin, 1964; Serebrennikov, 1983]. Thus, forming the idea of \u200b\u200bthe actual frame and its role in the structure of the proposal, L. Tener thought it as some action, L. Wittgenstein - as something relating to reality, Frega - as something permanent with changing variables.

The second complex involved in the interaction is a certain imaging idea of \u200b\u200bauxiliary essence. But it is updated in the metaphor only in the part of its part, which is commensurate with the resulting thought of the world both by the content and in the similarity corresponding to the anthropometry of the presentation of the presentation and the possibility of approaching the basis of the allowed similarity. As it is known, L. Tener liked the proposal of a small drama, which is played between its participants, L. Wittgenstein preferred the image of something properly, the tentacle of which concerns the Referents, Friege also did not escape the shaped-associative similarity, introducing the concept of predicate saturation as their distinctive features. The actualization of these ideas (about drama, refrigerants, unsaturation) is carried out either due to "ordinary" associations, or on the basis of "personal thesaurus" [Karaulov, 1985]. For example, in the metaphor of the tentacle (about the actants), "the window of consciousness" includes those features of a real object that are associated with a touch to something. The associations of this type are likely to have an ontological (encyclopedic), and not verbal-semantic status (so, in the metaphor of the donkey, a sign of stubbornness or nonsense belongs not to the level of the meaning of the word, but to everyday domestic representation of the habits of this animal).

The third complex is the very meaning of the name of the name metaphorization. It plays the role of an intermediary between the first two complexes. On the one hand, it introduces a fine view in the metaphor, correlated with the reference value, and on the other, it acts as a filter, that is, organizes the meaning of a new concept. In addition, the value of a rethought word is equipped with actually verbal associations, which are also not indifferent to the interaction. For example, the metaphor type is running, frozen, etc. They are obliged to their occurrence not only for a shaped-associative complex, correlated with the referents of these words, but also synonymous bonds of the initial metaphor time comes or stands on the spot, etc.

So, it can be assumed that metaphorization is the process of such interaction of these entities and operations, which leads to a new knowledge of the world and to the sylap of this knowledge. The metaphorization is accompanied by inclusion in the new concept of signs of already disabled reality, displayed in the meaning of a rethought name, which leaves traces in a metaphorical value, which in turn "woven" and in the picture of the world expressed by the language.

Metaphorization begins with assumptions about the similarity (or similarity) of the emerging concept of realities and some of the "specific" shaped-associative idea of \u200b\u200banother realistic in something similar to it. This assumption that we consider basic for metaphorization and the basis of its anthropometry is a modest of metaphor, which can be given the status of the Cantian principle of fictitiousness, the meaning of which is expressed in the form "as if."

It is the fictitality model leads to a dynamic state of knowledge about the world, a figurative-associative representation caused by this knowledge, and is already ready-made importance that interacts in the metaphorization process. This modus makes it possible to approach logically not comparable and ontologically nursing entities: without assumption that X is like y, no metaphor is possible. From this assumptions, the thought movement begins, which is looking for similarity, building it in analogy, and then the new concept is already synthesized, which receives the form of a language value on the basis of metaphor. Modeus of fictitiousness and there is a "lean" metaphor: a metaphor's impact is an understanding of which modus it is proposed to perceive its "literal" meaning. So, modus of fictitiousness is a mediastinum of metaphor as a process, its result, as long as it is recognized as a product of metaphors.

The fictitality modus provides "Croskok" with a real on a hypothetical, i.e., received as an assumption, representation of reality, and therefore it is an indispensable condition for all metaphorical processes. It is the modus of fictitiousness gives the metaphor the status of a model for obtaining hypothetical and output knowledge. It provides both the extraordinary productivity of metaphors among other tropic methods of obtaining a new knowledge of the world in any area - scientific, everyday-household, artistic.

The ability to name the letter to the pen was laid in the reality: this is the transfer of the name associated with the change (or rather by the acquisition) of the new object function. When this instrument was called a handle, a logically incorrect "crossroad" was performed from the kind of genus (part of the body - tool). But it is motivated (although it is quite difficult - with the participation of metonymy "What drives the tool" - "The tool itself"), and most importantly - anthropometrically justified: the instrument for the letter was offered "the Creator" of this metaphor to think "as if it were hand". Only with the assumption of the possible similarity of the "fineness" of hearing and vision, estimated metaphors of acute hearing, acute vision could be formed. To an even greater degree "fantastic" likelihood of man and animals (which, apparently, goes back to the mythical worldview), as well as abstract concepts and living beings. Without aware of the principle of fictitiousness, the world would also look like "nightmarly", as he is depicted on the barelons of Bosch. Cf. In this regard, the expressions of the type climb into the bottle, bend to the horn bars or in three deaths, the worm of doubt, doubt is gnawing or donkey, a log, a dubbing in the appendix to a person. Especially diverse in the forms of manifestation of the principle of fictitiousness, a figurative metaphor, drawing peace as a majority: gave blind, day fellowship, closed mouths. In an incomplete dream, the Tsarevna Syneva is empty (A. Block).

The assumption based on the principle of the fictitiousness of the hypothetical similarity will franchise the Creator of the Metaphor, and it moves to the level of comparison of the new and already known, where any comparison and any analogy, corresponding to the report of the reality in the personal texaurus of the language carrier are possible. As Yu. N. Karaulov writes, referring to this thesaurus to the level, intermediate "between semantics and gnoseology", "Sometimes used to designate the method of ordering a combination of" picture of the world "with all the apparent metaphoricity very accurately transfers the essence and content of the level under consideration: it is characterized by The representativeness of the perceptuality components of its units, and the means of giving the "fine concept" of the corresponding concept (idea, descriptor) a wide variety of techniques. This can be the creation of an individual image on the basis of the appropriate word descriptor or the inclusion of it in some permanent, but individualized context, or an ingestion of it with a certain set again of individual, specific associations, or the allocation of some special non-standard, non-trivial sign in it, and m. ". Essentially, there are just those units that operates the metaphor as a shaped-associative wealth, which owns a native speaker. Certificate of metaphor with an individual level of language ability and explains the role of human factor in it and its orientation on anthropometric construction, operating analogy.

To show that the "accidental" (from the point of view of the universal logic), the figurative similarity is more characteristic of the metaphor than the real similarity, and that at the same time it only survives the random, which is harmonized with the basis of the metaphor - its intent, we give a number of examples . So, in the name of the spout (part of the kettle, through which water is bottled in the cups) the function of this part is not exactly exactly accurately: the word horror would rather mean this function (cf. English, Spout - Conversion from To Spout "to pour" - "what pour "). But the Russian language "sanctioned" the Metaphor of Nostek, apparently because the visual resemblance is like a more anthropometric (rushing), is better remembered. Cf. Also, the leg (tables), where the sign of the visual similarity of the table and leg supports and the functional feature is synthesized (the legs are also supported), although more precisely, these parts of the table could be called columns.