| She hopes that the Previdents can guide the dinici, but they ignore her because they are mere symbols and cannot function as imperatives. The possibility remains that Garar� can upset the atmospheres in order to demonstrate that their 'precise limits' are unnecessary. The first time she does not succeed but finally the sun-yellow and flesh-red zones "si spezzano e si afflosciano sotto un rumore arcuato di falce sega" (VG 74). At this point the 'plant forces' are almost extinguished but Time (here a symbol of eternity) returns and defeats Garar� with its song. Garar� cannot conquer this realm because it is eternal and ungraspable. As the Voluits had previously explained, "Siamo Tensioni realizzate. Occupiamo lo spazio e il tempo colle nostre punte volitive" (VG 50). The Realm of Volont�-Tensioni is also a conceptual space, a locus that functions merely as an abstract law. It is eternity in the form of Time that defeats Garar�, but this too is a synchronic manifestation of time that allows for no diachronic progression of narrative. The final and most problematic realm of this text purports to offer a 'third way' or unregulated possibility of linguistic play, as opposed to a dialectic tension between semiotic and symbolic domains. [18] It is described as a: Giardino ... sulla riva verde oro della gioia bagnata dal mare infinito del pensiero azzurro ... La riva non � piana, ma si solleva in ritmi ondulosi dolcissimi quasi musicali, che, gonfiandosi continuano spiralicamente in coni multicolori internamente illuminati. (VG 77) The realm is inhabited by the Piccoli Allegri that are the manifestations of poetic language or parolibere. Since the symbolic is 'implicitly transgressed', the Allegri flout grammatical laws and frequently speak in a nonsense language. These expressions of 'poetic language' are the representations of semiotic impulses without any symbolic or syntactic impositions � like the 'graphic syntheses' of Le forze umane which Benedetta calls "l�espressione diretta delle forze dell�universo senza nessuna preoccupazione plastica" [LFU 47] � and for that reason they have much in common with the drives from the 'chora'. Gallop and Burke describe the movement from the semiotic to poetic language by contrasting infants� speech with linguistic subversions in adults� speech: If the semiotic expresses itself in the infant�s world as babble, rhythm, melody, and gesture, then in the adult�s it returns in word play, prosodic effects, nonsense, and laughter � all relatively uncensored traces of the unconscious. [19] The Allegri dance in spirals and then "si sbandano felici come una fresca risata in un�alba d�amore" (VG 78). When they speak they play word games with the names of their colours. In this case, for example, they construct quasi-anagrams from the word azzuro: Allegro verde or�uuzz Allegro azzurro ora�azz Allegro viola zaiiir Allegro rosso rarurr Allegro giallo raza�ar Allegro bianco azu�ur (VG 81) The presence of Garar� in this realm is problematic because she can no longer presume to operate in the capacity of the Name-of-the-Father beyond the symbolic limit. When Garar� chants her usual slogan (Garar�/ Trover�/ Garar�/Toccher� �), the Allegro Verde responds " Questo � il tuo giuoco..." (VG 94). The Allegro interprets the slogan as a play on words because Garar� could not even begin to impose any of her imperatives on this subversive realm. The anagram is significant because it represents all the possible variations of a word, not only those which make sense. In the same way, il Regno delle Libert� Creatrici is characterised by a heterogeneous language. As the Allegro Viola declares: :"Ogni parola ha un�eco ... Variet��" (VG 96). Garar��s words, on the other hand, cannot be interpreted meaningfully because their imperative function is playfully undermined by the 'poetic' subversions of the Allegri. The Allegro Bianco exclaims, "Garar�! Garar�! vedo il tuo nome e le tue parole accartocciarsi. Sono un involucro... cosa vogliono imprigionare?" (VG 100). Thus the notion of naming and describing is seen as a process of needlessly imprisoning meaning, a process which is ultimately impossible in the 'infinite' realm of the Libert� Creatrici. For this reason, Garar� cannot even touch the luminous cone that she wishes to measure with [to page 77] |