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Figure 2: Narrative complexity/simplicity By assessing the degree of simplicity/complexity of the translated texts, we measure the use of simple and complex forms of language (Sikes and Gale, 2006). Bamberg (2012) states that assessing the lexical and syntactic As claimed by Bamberg (2012), the more use of words signals the more meaningful texts. This is also in line with Baumer et al. (2005) study which noticed that the average length of thorough and meaningful

Figure 2 Narrative complexity/simplicity By assessing the degree of simplicity/complexity of the translated texts, we measure the use of simple and complex forms of language (Sikes and Gale, 2006). Bamberg (2012) states that assessing the lexical and syntactic As claimed by Bamberg (2012), the more use of words signals the more meaningful texts. This is also in line with Baumer et al. (2005) study which noticed that the average length of thorough and meaningful

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Figure 1: Narrative coherence in translated texts In terms of the completeness of the translated tasks, while the high NI group did not leave any part of their configurations of texts are usually the tools to analyse the linguistic build-up of a narrative text. Therefore, we aim to scrutinise the simplicity/complexity orientations in the translations. In this exercise, three separate linguistic measures in each text were measured: (i) translation length (ii) the number of simple/independent sentences (111) the number of compound/complex sentences .
Figure 1: Narrative coherence in translated texts In terms of the completeness of the translated tasks, while the high NI group did not leave any part of their configurations of texts are usually the tools to analyse the linguistic build-up of a narrative text. Therefore, we aim to scrutinise the simplicity/complexity orientations in the translations. In this exercise, three separate linguistic measures in each text were measured: (i) translation length (ii) the number of simple/independent sentences (111) the number of compound/complex sentences .
Figure 3: Explored gaps in translated texts in linguistic terms The study showed that only 3 participants in high NI group had lexical gaps, and these gaps were simply missed lexical items. These missed lexical items or syntactic gaps do not represent any lack of understanding or deep unfamiliarity with translation. In contrast, the same measures among participants with low NI were as follows: 9 participants had lexical gaps in their tasks, and 8 cases had syntactic gaps in their translations. Figure 3 presents this comparison.
Figure 3: Explored gaps in translated texts in linguistic terms The study showed that only 3 participants in high NI group had lexical gaps, and these gaps were simply missed lexical items. These missed lexical items or syntactic gaps do not represent any lack of understanding or deep unfamiliarity with translation. In contrast, the same measures among participants with low NI were as follows: 9 participants had lexical gaps in their tasks, and 8 cases had syntactic gaps in their translations. Figure 3 presents this comparison.
Figure 4: Narrative creativity/aesthetic merit in translated texts The linguistic changes through the use of some translation strategies namely, explicitation and addition, have produced a creative impact in the translations of high NI participants, while the translations of low NI participants were mostly a direct transfer of source text materials. However, the evaluation of the level of creativity cannot be done only by intratextual factors; extratextual factors are to be considered too (Nord 2005, as cited in Holst, 2010). One prime extratextua factor here is the text type. The text type can be categorised as informative text type; the function of which is to communicate information, knowledge and opinions. In line with Liu (2004), even if a narrative is meant primarily to communicate information and knowledge, such as narratives that belong to the genre of news, a good narrative nevertheless obeys an aesthetic imperative, though an invisible one, governing aspects of the narrative such as, inter alia, selective articulation o details, consistency and coherence, dramatic storytelling technique and the perception of authenticity. Crafting Therefore, it is necessary to examine any narrative text in terms of its ability to invite easy responses and to elicit
Figure 4: Narrative creativity/aesthetic merit in translated texts The linguistic changes through the use of some translation strategies namely, explicitation and addition, have produced a creative impact in the translations of high NI participants, while the translations of low NI participants were mostly a direct transfer of source text materials. However, the evaluation of the level of creativity cannot be done only by intratextual factors; extratextual factors are to be considered too (Nord 2005, as cited in Holst, 2010). One prime extratextua factor here is the text type. The text type can be categorised as informative text type; the function of which is to communicate information, knowledge and opinions. In line with Liu (2004), even if a narrative is meant primarily to communicate information and knowledge, such as narratives that belong to the genre of news, a good narrative nevertheless obeys an aesthetic imperative, though an invisible one, governing aspects of the narrative such as, inter alia, selective articulation o details, consistency and coherence, dramatic storytelling technique and the perception of authenticity. Crafting Therefore, it is necessary to examine any narrative text in terms of its ability to invite easy responses and to elicit
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Translation StudiesPsycholinguisticsNarrative Intelligence
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