This paper analyzes out Nanpa’s an expressionistic feature. This paper’s theme is to examine closely what ‘expression’ of expressionism is, and how it is really embodied in Nanpa, furthermore what its historical, literary value is, if we call Nanpa an expressionistic text.
So, in the first main subject, with the conception ‘uncanny’ of Freud’s, a space and character which are a structural element in Nanpa are analyzed out. To meet an uncanny space and an uncanny feminine’s Doppelganger is designed by intent in order to explore a self in Nanpa, as a result, after such a uncanny self exploring, power as an awakening and a theme of explosion, that is, chaos’s energy, are acquired. These are a sort of vital power, thus this energy doesn’t rely on a rationalistic illumination, but rather build on an irrational Nietzschean power. Therefore in the second main subject, A Nanpa’s thematic signification is examined in the terms of a Nietzschean vitalism’s philosophy, concentrating a self’s transformation and awakening’s process into a focus. A Nanpa’s three act symbolizes a three step’s change of poet’s spirit experiencing. A Nanpa gives shape to the process how a spirit becomes a camel, a camel becomes a lion, and finally a lion becomes a child. Consequently, a vital power awaking by poet imply an unconditional affirmation about a meaninglessness and pain’s eternity or an absolute affirmation the fact that the only nothingness is perpetual.
After this discussion, as a result, we draw out an expression’s meaning, that is, ‘power’, ‘energy’, and ‘exploding’. So we call a Nanpa by expressionism’s text since a text itself becomes automatically a creative energy of an art work itself, and its power. And the times’s meaning which intends to transcend by becoming an energy, a power, and a bridge is to destruct an empire, a metropolitan, a colonial state and people living in the condition, as we can see Kim Woojin’s statement, “Creative writing is a life’s bomb and a revolutionist’s bomb.” Therefore, We can know a spot that reveals a reality of Nanpa which, as an antirealism’s work, perhaps seems to fail to meet reality’s representation.