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Narrative discourse is to study the ways narrative is presented. Research on narrative discourse is fundamentally to study relationships between narrative and story, between narrative and describing, and the story inscribed in narrative discourse and describing.
This study set out to focus its research efforts on time discrepancies, predictions, and description rate in Soul of Wind.
The novel, as a matter of fact, is full of time discrepancies as its narrative follows the consciousness of the characters.
The introduction of narrative performs the function of its compositional reversal, which is a kind of time discrepancy technique of providing the readers with causal relations of events and necessary preliminary knowledge at the beginning. The main character accessed the truth she was trying to know through the recollection technique involving association.
The novel also uses a lot of internal predictions, which were useful in effectively describing the anxiety the characters had for their future and the thoughts they had about other characters. The main character encounters herself from the past through recollection, which scene transcends time and marks a mysterious and profound moment.
As for the description rate, the author makes useful use of summary, omission, and stop. Stop and prolongation are especially important in the description rate. What is characteristic with the description is that it starts with a scene and immediately changes its rate with stop or prolongation. The characters start with their actions in scenes but immediately fall into their conceptions, pursuing depiction. It is converted into stop description when it depicts the characters' thoughts or the landscape they are looking at and into prolongation description when it reproduces their conscious worlds.
The description rate of Soul of Wind can be characterized by the author's individuality to psychologically utilize summary and omission. The main description rates of the novel are prolongation and stop. The scene descriptions are inclined toward the reproduction of consciousness rather than the feeling of movement, which is because Oh Jeong-hee's novels usually seek after description following consciousness rather than events.