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The study outlines key compositional and pragmatic features of the sonnet and evaluates communicative adequacy through the interaction of language, style, and expressive-emotional effects.",{"@graph":14,"@context":72},[15,34,55],{"@type":16,"itemListElement":17},"BreadcrumbList",[18,23,27,31],{"item":19,"name":20,"@type":21,"position":22},"https://docshare.wps.com","Home","ListItem",1,{"item":24,"name":25,"@type":21,"position":26},"https://docshare.wps.com/document/","Document",2,{"item":28,"name":29,"@type":21,"position":30},"https://docshare.wps.com/document/literature/","Literature",3,{"item":32,"name":10,"@type":21,"position":33},"https://docshare.wps.com/document/lingo-poetic-analysis-of-the-translations-of-shakespeares-sonnet-116/661206/",4,{"url":32,"name":10,"@type":35,"image":36,"author":41,"headline":10,"publisher":44,"fileFormat":47,"inLanguage":8,"description":12,"dateModified":48,"datePublished":49,"encodingFormat":47,"isAccessibleForFree":50,"interactionStatistic":51},"DigitalDocument",{"url":37,"@type":38,"width":39,"height":40},"https://docshare.wps.com/thumbnails/lingo-poetic-analysis-of-the-translations-of-shakespeares-sonnet-116/661206.png","ImageObject",300,407,{"name":42,"@type":43},"Ezra","Person",{"url":19,"name":45,"@type":46},"DocShare","Organization","application/pdf","2026-10-29","2026-10-28",true,{"@type":52,"interactionType":53,"userInteractionCount":26},"InteractionCounter",{"@type":54},"ViewAction",{"@type":56,"mainEntity":57},"FAQPage",[58,64,68],{"name":59,"@type":60,"acceptedAnswer":61},"What does the study aim to analyze in Sonnet 116 translations?","Question",{"text":62,"@type":63},"It examines cognitive dissonance and how the author’s purpose is recreated in translations, emphasizing lexical-stylistic transformations used to build translation equivalents.","Answer",{"name":65,"@type":60,"acceptedAnswer":66},"Which texts are compared in the research?",{"text":67,"@type":63},"The research compares the original Sonnet 116, the Russian translation (with reference to S. Marshak), and the Uzbek translation by Jamal Kamal.",{"name":69,"@type":60,"acceptedAnswer":70},"How is Sonnet 116’s compositional structure described?",{"text":71,"@type":63},"The sonnet is presented as three quatrains and one couplet with the rhyme scheme abab cdcd efef gg, where thematic development and syntactic complexity shift toward simpler phrasing at the end.","https://schema.org",{"og:url":32,"og:type":74,"og:title":10,"og:site_name":45,"og:description":12},"article",{"robots":76,"canonical":32},"index,follow",{"doc_id":78,"site_id":7},661206,1793159931,{"code":4,"msg":81,"data":82},"success",[83,87,90,94,99,104,109,114,119,122,126],{"id":22,"doc_module":4,"doc_module_name":25,"category_name":84,"show_sort_weight":85,"slug":86},"Story & Novel",90,"story-novel",{"id":26,"doc_module":4,"doc_module_name":25,"category_name":29,"show_sort_weight":88,"slug":89},80,"literature",{"id":33,"doc_module":4,"doc_module_name":25,"category_name":91,"show_sort_weight":92,"slug":93},"Exam",70,"exam",{"id":95,"doc_module":4,"doc_module_name":25,"category_name":96,"show_sort_weight":97,"slug":98},5,"Comic",60,"comic",{"id":100,"doc_module":4,"doc_module_name":25,"category_name":101,"show_sort_weight":102,"slug":103},6,"Technology",50,"technology",{"id":105,"doc_module":4,"doc_module_name":25,"category_name":106,"show_sort_weight":107,"slug":108},7,"Healthcare",40,"healthcare",{"id":110,"doc_module":4,"doc_module_name":25,"category_name":111,"show_sort_weight":112,"slug":113},8,"Research & Report",30,"research-report",{"id":115,"doc_module":4,"doc_module_name":25,"category_name":116,"show_sort_weight":117,"slug":118},9,"Religion & Spirituality",20,"religion-spirituality",{"id":117,"doc_module":4,"doc_module_name":25,"category_name":120,"show_sort_weight":117,"slug":121},"World Cup","world-cup",{"id":123,"doc_module":4,"doc_module_name":25,"category_name":124,"show_sort_weight":123,"slug":125},10,"Lifestyle","lifestyle",{"id":127,"doc_module":4,"doc_module_name":25,"category_name":128,"show_sort_weight":95,"slug":129},19,"General","general",{"code":4,"msg":81,"data":131},{"doc_id":78,"user_id":132,"nickname":42,"user_avatar":133,"doc_module":4,"category_id":26,"category_name":29,"doc_title":10,"doc_description":12,"doc_content":134,"file_id":135,"file_url":136,"file_type":137,"file_size":138,"view_count":26,"is_deleted":4,"is_public":22,"is_downloadable":22,"audit_status":22,"page_count":105,"language":139,"language_code":8,"site_id":7,"html_lang":8,"table_of_contents":140,"faqs":141,"seo_title":142,"seo_description":12,"update_tm":79,"read_time":143},1099514068035,"https://ap-avatar.wpscdn.com/davatar_276721f389ce27ea32af1340a28f341c","CENTRAL ASIAN JOURNAL OF LITERATURE, PHILOSOPHY AND CULTURE  \neISSN: 2660-6828 | Volume: 04 Issue: 01 Jan 2023  \n[https://cajlpc.centralasianstudies.org](https://cajlpc.centralasianstudies.org)  \nLingo-Poetic Analysis of the Translations of Shakespeare's Sonnet 116  \nKuchiboev Mansur Abdumurotovich  \nTeacher of the Samarkand State Architectural-Civil Engineering University  \nReceived 23rd Nov 2022, Accepted 24th Dec 2022, Online 9th Jan 2023  \nANNOTATION  \nIn the article, the goal of the article is to study the cognitive dissonance and re-creation of the author's purpose in the translations of Shakespeare's sonnets, translated directly from English by the Uzbek poet Jamal Kamal, and the lexical- stylistic transformations that occurred in the process of creating translation equivalents by comparing the original, Russian and Uzbek texts.  \nKEYWORDS: Sonnet, lexical-stylistic transformation, communicative purpose, composition, tendency, cognitive function, emotional and expressive effect, method of alliteration, pragmatic adequacy.  \nINTRODUCTION. 200 years have passed since the birth of Shakespeare studies. In the course of these years, despite the many explanations given to the interpretation of every word in Shakespeare's works, different opinions continue to be expressed about his language, style, and the communicative purpose of the work. In particular, there are still debates about the issue of whether it is necessary to restore the form of the work in the translation of Shakespeare's sonnets, or whether it is necessary to restore the melody and the purpose of the author of the work.  \nShakespeare used the language of his time so skillfully that even the classical poets of his time, even Goethe, could not completely recreate the idea that the poet intended in his poems [1:615] .  \nMAIN PART. Shakespeare's sonnets have been translated into many languages of the world. In particular, it is known that his sonnets were translated into Russian by poets such as D. Kuzmin, D. Shedrovichko, S. Ya. Marshak, B. L. Pasternak, and each sonnet was translated in different ways. The first examples of Shakespeare's sonnets were translated from Russian into Uzbek first by Maqsud Shaykhzada, and later by Yusuf Shomansur. In 2009, the publication of Shakespeare's sonnets by the Uzbek poet Jamal Kamal directly translated from English was a big event in Uzbek translation studies.  \nIn this regard, in this study, we aimed to compare cognitive dissonance and author's goal in the translations of Shakespeare's sonnet 116, lexical-stylistic transformations that occurred in the process of creating translation equivalents through the original, Russian and Uzbek texts. We hope that such a study will contribute to a deeper understanding of Shakespeare's sonnets, further development of the theory and practice of poetic translation.  \nA sonnet is a condensed poetic form consisting of 14 lines, two rhymes, two or three rhymes. There are certain rules for writing a sonnet. Each line should end with a period and no words should be repeated, the last word should be the keyword. Also, in the first four lines of the sonnet, there should be a thesis, an antithesis, a synthesis and a climax in its development [7:412] .  \nShakespeare's sonnets also consist of 14 lines, the rhyme in the first quatrain is not repeated in the second line, and usually consists of three quatrains and one couplet, and it is in the last two lines that the content of the sonnet is concluded. One of the strong rules of Shakespeare's style is that it is devoted to a single theme, and that theme is established in the first line. Then the author develops this theme in the next lines, complicates it with contrasting motifs, polishes it through parallel images [9:188] .  \nOne of the compositional peculiarities of Shakespeare's sonnets is that they are composed of three quatrains and one couplet and follow a single rhyme scheme of abab cdcd efef gg. The composition of sonnets seems to oscillate ","cbCaicGvHiUtkSYp","https://ap.wps.com/l/cbCaicGvHiUtkSYp","pdf",326849,"English","# Annotation\n# Introduction\n# Main Part\n## Translation history and context\n## Poetic composition and tendencies\n# Methods and Results\n## Communicative purpose and language features\n## Comparative approach (original, Russian, Uzbek)","[{\"question\":\"What does the study aim to analyze in Sonnet 116 translations?\",\"answer\":\"It examines cognitive dissonance and how the author’s purpose is recreated in translations, emphasizing lexical-stylistic transformations used to build translation equivalents.\"},{\"question\":\"Which texts are compared in the research?\",\"answer\":\"The research compares the original Sonnet 116, the Russian translation (with reference to S. Marshak), and the Uzbek translation by Jamal Kamal.\"},{\"question\":\"How is Sonnet 116’s compositional structure described?\",\"answer\":\"The sonnet is presented as three quatrains and one couplet with the rhyme scheme abab cdcd efef gg, where thematic development and syntactic complexity shift toward simpler phrasing at the end.\"}]","Lingo-Poetic Analysis of the Translations of Shakespeare's Sonnet 116 | PDF",11]