Furthermore, Kristeva continues by diverging from the patriarchal Symbolic Order of thought (language as representation); instead, she attempts to identify feminist literature through Semiotic language, derived from Lacan’s Imaginary Order of thought, which is defined as “the area of the human psyche dominated by the preverbal infantile stage of joyful fusion with the mother’s body” (Booker 91).  Kristeva’s semiotic language can be defined as language reliant “on the creation of emotional impressions and effects through sound, rhythm, and related techniques” (Booker 486).  The conflict between Lacan’s Imaginary Order and Symbolic Order gives way for Lacan’s third order, the Real Order, bringing out the fleeting epiphanies into the old man’s consciousness.