Dérive Of'The Fool' Of Tarot And Self-RealizingOf The'Flâneur'

New Zealand Online Journal of Interdisciplinary Studies. Volume 1. Issue 3.

37

Dérive Of‘The Fool’ Of Tarot And

Self-RealizingOf The‘Flâneur’

Aylin ÜNAL,

[email protected],

Doctoral student, University of Istanbul,

Social Science Institute, Journalism Department

mailto:[email protected]


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Abstract

‘Men can see nothing around them that is not their own image; everything speaks to them of

themselves. Their very landscape is alive.’ (Karl Marx, Internationale Situatinniste, vol: 3, 1959)

The term of the‘Flâneur’ was used in nineteenth-century literature as a ‘stroller.’ S/he had

symbolized exploration, sensual interpretation, personal voyage and has interpreted by scholars in

our time as an romantic representation of ‘urban experience’ and served as a source of inspiration to

writers and artists.

During thetwentieth century for Baudelaire, the ‘Flâneur,’ in the daily life of the cities, had

been used as a symbol of ‘self-realizing,’ the concept of which takes place in spiritual philosophy,

throughout the ‘city exploration.’The conception of ‘Self realizing’ had been depicted in the

Bhagavad-Gita as a necessity of‘spiritual existence.’ It had been evaluated as the primary principle

in theway of spirituality.

The ‘Flâneur’ and ‘The Fool’ of Tarot are the personifications searching about themselves in

the illusionary structure of the daily life. Despite all the delusions on senses to perceptions, they

continue to search. They are not isolated, they are active, searching, examining and practicing, and

they areessential but intangible parts of daily life. Considering their attitudes, they are spiritual

characters of everyday life.

Walter Benjamin emphasizes the connection between city landscapes and the inner

personality of the ‘Flâneur’ in his essay ‘The Return ofThe Flâneur’ (Die Wiederkehr des Flanuer,

1929). Strolling in the streets ofthe city, the ‘Flâneur’ discovers his fears, his expectations,

disappointments and he, himself (1999: 266). Being a ‘Flâneur’ could be read as a way to become a ‘spiritual voyager’ as it characterized by Baudelaire in ‘The Painter of Modern Life’ (1964).

Tarot, which is accepted as spiritual pathway by its practitioners and has its roots in the

fourteenthcentury, basically consists of two Arcanas which are called as Major Arcana and Minor

Arcana. There are cards in both of Arcanas, pictured with historical and mythological characters

and symbols. Tarot cards were used as a gambling game in the beginning and its fortune teller role


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was in a lesser degree. By the nineteenth century, Alphonso Louise Contant, known as Eliphas Levi

linked the cards to the Kabbala.People started to find deeper meanings and wisdom in Tarot. Today

these cards are using for meditation and as a tool in the way of enlightenment, and are accepted as

away leading to personal growth through understanding ourselves and life. (2007: 6)

The Major Arcana consists of 21 trump cards. Throughout these 21 cards, it is expected

thatthe querent will make his/her particular journey. At this point of enquiry, him/herself is the none

but ‘The Fool’ itself. ‘The Fool’- the number of which is zero, is accepted as a starting figure of the

journey in Tarot. His way throughout 21 Major Arcana Cards, is depicted as a spiritual voyage in

Tarot reading.

This paper analyzes the similarities between the‘Flâneur’ and ‘The Fool’ of Tarot. As the

character practices their everyday life, they take references from spiritual philosophy when they

interpret themselves. To examine the traditional understanding of spiritualism and the

personification of ‘The Fool’ of Tarot and the ‘Flâneur,’I basically focus in this article on some

elemental references to considering the subject.1

1The key text of Yoga and Hindu Vedenta Philosophy, 700 verse Hindu scripture Bhagavad-Gita (750 BCE),

will be used. Also the main work of Baudelaire where he has clearly described the personification of the ‘Flâneur,’ ‘The

Painter of ModernLife’ (1964), and neo Jungian and 18th century occultist approach to Tarotby Robert O’Neill in

‘Tarot Symbolism’ (1986) will form primary reference points in the article.


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1. Introduction It was Plato who used the allegory of cave, in his well-known workThe Republic (380 BC) to

examine the meaning of reality. According to him the reality is not possible to be known throughout

daily human life. It exists onlyin its highest and most fundamental form which is called as ideal by

Plato, in the ‘world of ideal forms’.According to the allegory, in the daily life of people, they

sustain their lives as being chained to the walls of the cave, they cannot move out of the cave. There

is a fire behind them and everything they see is the representation of the things which are passed

through in front of the fire. These are the shadows that they see in the daily practice of their

perceptions. Therefore, their conception reality is consisted of shadows.

From the classical era until today, Plato’s allegory of cave has been inspiration to many

thinkers engaged in cultural, philosophical and psychological studies. In the search of reality Lacan

was one of those who oftenreferred to Plato. He used Plato’sallegory of cave in a more specific

way; to make questionsof the reality of the ‘self.’Lacan emphasized that the representations of the

subject had not given us the pure subject since they had not been pure reality. (1998: 221) Therefore

everything surrounding the subject is not external but the internal. (1992: 365)

In fact searching for the reality of self has a long historical background. The ancient sacred

Hindu book Bhagavad-Gita which is supposed to be written by the God (500 BC – 200 BC), has

guided to the devotee in search of him/herself. For over two millennia, it has also underlined the

importance being ‘self’ in accordance of doing one’s own duties.

‘It is far better to discharge one’s prescribed duties, even though faultily, than another’s

duties perfectly. Destruction in the course of one’s own duty s better than engaging in another’s

duties for to follow another’s path is dangerous.’ (1998: 786)

As we continue to investigate the problematic of the reality of self, we will see two

particular examples which have embodied the matter of context over two prominent subjects of

both modern and traditional cultural periods of time. Both of these two figures nature can be traced

through spiritual concept of Bhagavad-Gita and Lacan’s model of three orders which is basically

inspired by Plato’s allegory of cave: ‘The Fool’ of Tarot and the ‘Flâneur’ of Baudelaire.

As we look at the characterizations of the‘Flâneur’ by Baudelaire and historical depictions


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of ‘The Fool’ of Tarot, we will see particular similarities in between spiritual qualities

addressing in Bhagavad-Gita over the conversations between Krishna the God and spiritual devotee

Arjuna. Krishna becomes a guide to Arjuna in his spiritual journey to search and find his ‘self’.

In their unique experiences, both the ‘Flâneur’ and ‘The Fool’ are invited to the awareness

since reality of self can be reached only in complete state of awareness. (1991:543) This can be

possible only by being active in life. He is the ‘Flâneur’ who cannot live but being in the middle of

the crowd, whose existence can only be approved when he is on the streets, on his personal

explorations. And he is ‘The Fool’ who needs to examine himself during his journey in material

life.

Being spiritual doesn’t mean to be away from daily routine of the life but in the middle of it.

Spiritual texts recommend not isolating the self. Shah, states characteristic attitudes of Sufis in his

book Oriental Magic when he describes characteristics of spiritual being. Sufi is the one who is in

the middle and out of everything. He is not isolated out of the world but staying active, being active

in very moment of the life. Experiencing the life itself is the essential quality in Sufis life and in

spiritualism as well.

[The monastic life, however is strongly eschewed by all Sufi thinkers. They reason that if a man

deprive society of his service and activity, he is being anti-social. Being anti-social is against the

divine plan. Hence he must in the words of the first principle of Sufism, ‘be in the world but not of

the world’] (2013: 64)

According to Buddhist texts, Buddha has enlightened while he was sitting under a Pipal tree,

he was practising meditation.However this was not isolation but an active experience. Being aware

of self is possible by being in the action, experiencing life. (2012:116)


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In a literature review extending from spiritualist to psychological studies, there will be seen

many of sources which are based on the questioning of the reality of self. Since both of these

disciplines work on the subject, it is very possible to find many similarities to each other. Freud

emphasized in his works that the reality on the perception of the subject had not been the reality

itself. It was the illusion of the subject who was investigated by psychoanalysis. The subject is not

imposed to reality because of his/her own psychological barriers. Lacan, explains this process in

hismodel of threeorders.According to him, one who experiences the life, uses symbols as

therepresentations of the external reality. Subjective reality takes itself shape over the symbols of

the subject. But these symbols are not the reality itself. The way s/he likes to imagine himself is the

imaginary.

[‘What is praxis? ... It is the broadest term to designate a concerted human action, whatever it may

be, which places man in a position to treat the real by the symbolic.] (1998, 4)’

Benjamin was also one who had been in search of the reality during his works. While he

was writing about the ‘Flâneur’ he had portrayed thispractising and examining character in the

illusionary spaces and lives of the cities. Baudelaire used the term of ‘phantasmagoria’ as a

metaphor to point out ostensible characters of modern cities. As the modern constructions of the

cities cause someone to become estranged, very perceptions of the cities are a part of illusions.

Cities grow; they transform themselves more into industrial spaces rather than public space.

Shopping malls and complex structures of traffic begin to be dominant in a daily city life.

Everything changes, life changes, time changes and the cities as well. At that point, Benjamin turns

to the ‘Flâneur’ as the real discoverer of the cities. (1997: 182)

A modern city agitates feelings which are illusionary by themselves. Despite imbalanced

nature of the feelings, two spiritual charactersof the ‘Flâneur’ and ‘The Fool,’ continue to walk

along in their way with all the turbulences of the life. They even not try to understand but just keep

going on and follow their journey. Emphasizing quality in Tarot reading and the way of the

‘Flâneur’ is an ability of staying in balance. They are spiritual artists, observing, acting and

performing. One can get his potential in finding balance between spiritual life and material life.

This is the advice to ‘The Fool’. This is the quality attributed to the‘Flâneur’ by Baudelaire’To see

the world, to beat the centre of the world and yet to remain hidden from the world’ (1954:7)


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[The Fool will have to progress many stages before the lessons of these early cards will

synthesize themselves into a mature understanding of nature of reality. Though he has discovered

that he has within himself the life of the spirit, the intellect, he must learn that his high power can

only be cultivated when it is in harmony with the material side of his existence.] (1986: 12)

The ‘Flâneur,’ strolling among the streets, is not a dreamer. He dreams his city but in a

search of his self. In fact he performs the city when he experiences it. He creates his own symbols

throughout the city until he finally finds himself. For ‘The Fool,’ derivé in the city is the only way

ofliving. It is the streets of the city where he call himself home. Baudelaire has given to

the‘Flâneur’ his characteristics while he was depicting him as the one who is the perceiver of life.

[For the perfect ‘Flâneur’, for the passionate spectator, it is an immense joy to set up home in the

heart of the multitude, amid the ebb and the flow of the movement, in the midst of the fugitive and,

the infinitive.] (1964: 7)

In spiritual point of view, given qualities of ‘The Fool’ and the‘Flâneur’ are reminded

spiritual apprentices. The story holding in Bhagavad-Gita starts in the heart of the crowd. It is a

battle scene portraying between two families Pandavas, Kauravas, and Arjuna finds himself amid

the ebb and in the middle of contradictions all of which are inseparable parts of life. Here, the

theatrical scene of battle represents the life with its own confusions and, contradictions. It is the

advice to Arjuna to do hisprescribed duties, to stay in the crowd and have experience in the heart of

multitude. (1998: 44)In the spiritual concept, ‘The Fool’ is the stroller (‘Flâneur’) of the spiritual

path (21 cards of Major Arcana). ‘The Fool’ of the Tarot is the one who discovers himself while

staying in action during his journey. He uses symbols as the tools in search of himself and has

representations of reality (Lacan’s model of three orders). His way is nothing but interpretations of

his subject. As much as he is aware on his actions he is closer to the self. It is supposed that at the

end of his journey, ‘The Fool’ would reach to awareness. In that state he won’t need symbols or

representations anymore. There will be only reality at the end of his journey.

The Fool of Tarot, starts his journey. The number of his card is zero, a number which

quantities an amount of null size, it strolls from the number of 1 to 22 during Major Arcana. (1986,

15). If we look at the number of ‘The Fool,’ we can understand that its meaning is connected to

‘The Fool’s’ personality. Zero symbolizes eternity. It starts and ends at the same point. Therefore it


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is timeless. This means it keeps its purity ever. ‘The Fool,’ theexplorer, will experience all his

potential while he was drifting through Tarotcards, keeping his pure nature all the time.

‘0 is not strictly a number at all, rather it represents the absence of any specific

number, and therefore we can say that it contains all number within itself. It symbolizes

infinite potentiality.’ (2007: 13)

In the descriptions of O’Neill’s Tarot symbolism, the personification of ‘The Fool’ evokes

the concept of the ‘Flâneur’ who is related to the idea of urban wandering (dérive) in the field of

Psychogeographic studies. The way of the Flâneur’s dérive could be interpreted as same as the way

of ‘The Fool’s’ journey in Tarot.


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2. The Journey of ‘The Fool’ as a Form of Dérive

Who am i? If this once i were to rely on a proverb, then perhaps everything would amount to

knowing whom i haunt. (1960: 11)

Representing at the edge of the hill. He is not afraid. He is the enjoyer of the life. Standing

carelessly under the bright sun. He doesn’t have any plans. Rather he is open to go with the flow.

He doesn’t hesitate to try and do some faults. He is the experiencer himself. He is called

allegorically as ‘The Fool’ like many people would like to call him as. But his name is derision of

society. ‘The Fool’ himself, with all of his being, is an‘outbreak’ to all preconceptions. He doesn’t

think about what people think and what the system of a society, rules. The man who is called

‘TheFool’ is the wisest one in contradictory structure of Tarot. He is the Fool, the seeker, the doer

of Tarot, giving start to his journey. He is ready from the beginning to take risks.

The conventional explanations say that The Fool signified the flesh, the sensitive life, and by

a peculiar satire its subsidiary name was at one time alchemist, as depicting folly at the most

insensate stage. (1910: 22)

‘The Fool’ will let himself to the knowledge of the life rather than try to control the

situations or possibilities during his way. He will meet 21 different characters and situations on his

journey. All of them will be amirror on his self-searching way to ‘The Fool.’ If he can stay aware

enough he will find his inner way. This message is clear, in ‘The Fool’s’ firs meeting. The first

character whom ‘The Fool’ encounters is the Magician. He raises phallic shape magic wand to the

heaven. (2007:14) Symbolization of the magician’s wand notifies the self-explorations of the inner

potentials of ‘The Fool.’ (1998: 89) ‘The Fool’ of Tarot is a spiritual character during his journey at

the work of Robert O’Neill’sTarot Symbolism. He is the discoverer of himself.

O’Neill, takes ‘The Fool’s’ journey to express each card, in his book he details every card

according to their meeting to ‘The Fool.’ If the Major Arcana of Tarot is consisting of 22 cards,

‘The Fool’ of the Tarot is a voyager going through the path of cards. This path is known

traditionally in Tarot as ‘The Fool’s’Journey. (1980: 22)


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‘The Fool’ is at the beginning of his journey. He is childish. To experience himself he

should experience his dérive at first. He will find himself in different situations with many

characters. Each of them is telling him about himself. As much as he is aware of his journey he

comes closer to himself.

[‘The Fool’ is the seeker. He is ready to give up preconceptions, material values and will

travel through the entire series of cards, in his journey he will learn experience and grow in

awareness.] (1986: 8)

He hasn’t shaped by the preconceptions of the society yet. Everything he encounters during

his journey is unknown to him. He will experience his way in an unfiltered perspective. He is free.

And freedom will guide him during his discoveries among the journey.

As we look at the given characters of ‘The Fool’ of Tarot by O’Neill in Tarot Symbolism

and the ‘Flâneur’ by Baudelaire in Painter of ModernLife, we will see find the same characteristics

in each. Then it’s possible to call ‘TheFool’alike with the‘Flâneur’.

‘The child sees everything in a state of newness, he is always drunk. Nothing more

resembles what we call inspiration than the delight with which a small child absorbs form and

colour.’ (1964:7)

The way of ‘The Fool’ to search himself is staying in state of awareness. This is what

Flanuer is supposed to do during his/her derive. The way of the dérive is not only strolling through

the streets of the city, it is a way of self-discoverythroughout using the symbols of environment.

During the dérive the perception of the city is subjective. One uses symbols as a mirror of

his/her inner desires and feelings. This is not a reality of the place but reality of self.

Lacan argues about the conception of reality in his model of three orders. According to him,

understanding the reality is barred by the symbolic orders. One uses symbols in his/her daily life of

experiences. These symbols are consisted of the realities of self who is not in the awareness of self.

Lacan emphasizes that one have to use symbols to be able to continue his/her daily practices.

Everything surrounding one works in the system of symbolization.

The ideal/ultimate state is the reality itself which can be reached only in a full state of

awareness. This is impossible according to Lacan in a daily practice of subject. (1998: 49)


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If the ‘Flâneur’ and ‘The Fool’ are the spiritual characters, in their very personal way they

are supposed to reach the aware state of mind at the end of the journey. This is the ideal of their

journey. This is where their journey will end. But until the end they will continue to their very

subjective ways of dérive.

According to Spiritual philosophy, people are ‘spiritual students’ in their lives. There are

many ways offered to them to be able to have mindfulness for reaching a reality.

Staying in action. Personal experience is the essential. The spiritual person is the seer, the

experiencer and yet beyond the experienced, at same time (2008:17)

Arjuna, one of the main character of Bhagavad-Gita, the warrior and spiritual apprentice

finds himself in the middle of the war which actually symbolises life itself. (1998: 79) Not isolation

but being very active is recommended in Bhagavad-Gita. One should take the way in front of

him/her if there is no other way to take. This doesn’t mean the acceptance of situation without

questioning on the contrary always keeping on searching. In every situation searching for the best

place to oneself or it there are any other ways, do not hesitate to take them. The real knowledge

only exists in experience.

[Although periods of introspection are necessary, contemplation can become a trap if one

does not move beyond it. You cannot escape from the wheel of fortune but you can find a place to

stay in balance.

The material success ‘The Fool’ finds must be balanced with spiritual progress. All he has

won must be left again he must be a child again. This is the Fool, wandering from the material

world, become the Hermit, wanderer in spiritual world.] (1986: 18)

This is how ‘The Fool’ of Tarot and at the same time the ‘Flâneur’ willgrow.The ‘Flâneur’

will reach to his creative potential in the middle of crowd on the streets. He will realize that

everything around him is just a part of him. There is nothing outside of him.

Dérive is not outer space strolling but inner space at the end.


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2.1 Flâneur In A Sense Of A Child

Baudelaire is credited for providing the first description of the ‘Flâneur’ in his essay of 1863,

The Painter of Modern Life. (2011: 57) He stated comprehensively the main characteristics of the

‘Flâneur.’ He is not only a romantic figure of literature but as Benjamin indicates.He is an essential

figure of modern urban spectator and investigator of the city. S/he has the spirit of child. To him/her

everything around him/her are things to be discovered.

Streets, shops, apartments, people encountering are materials to the ‘Flâneur’ to be

discovered. The childish potential of the ‘Flâneur’ is important. It is important to be able to stand

against to alienation and habitualization at the same time which are caused by the culture of

commodity.

They were Russian Futurists who sees habitualization as worse thandeath. Their primary

motivation was standing against to mechanistic parts of social class. Therefore artists are ‘called’ to

do their works in conceptionsbeyond expectations. (1987: 56) The child was an representative figure.

Because to child, everythingis new.

In a romanticized personification of the ‘Flâneur’ s/he is the person who can see the daily

miracles on the street where he passes through every day. (1978: 87) This can be only possible when

one is open to any possibilities in one’s daily practice of life.

In their childish nature the ‘Flâneur’ and ‘The Fool’ of Tarot are the same. Habitualizaiton

means destruction for both of them. They are discoverers on their way who are expected to find every

potential of themselves.

Today’s cities have complex structures. In modern cities everything converts itself into a part

of commodity. Growing industrial systems makes it difficult to examine cities. It is easy to be caught

in traps in harmful industrial cities. The ‘Flâneur’ is advised to search city despite and along with all

its daily traps of consumption. S/He is expected to continue his dérive within full sense of wonder

and childish nature. S/He is expected to be open in his/her every perception. His/her aim is not try to

change anything or lost himself/herself in the daily dreams of himself but to search, examine and


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practice the nature of the cities as they are. As s/he dérives throughout the cities he will grow.

As s/he flows in the daily life of streets s/he doesn’t only discover the outer world of reality

but himself/herself as well. What s/he sees, what he experiences are the representations of his/her

desire, his/her own personality. The ‘Flâneur’ is not out of the streets but a part of them. Therefore

every experience s/he gets from the crowd is an experience through himself/herself.

The ‘Flâneur’ is the way of reading the street, in which people’s faces, displays, shop

windows, cafe terraces, cars, tracks, trees turn into the an entire series of equivalent letters, which

together form words, sentences and pages of a book that is always new. (1999: 145)

The ‘Flâneur’ is daily figure of the cities. S/He feels everywhere at home. To him/her, being

in the crowd is essential. S/He is inspired by the crowd. S/He lets himself in the flow of the crowd.

His/her daily life shapes itself according to the sensations of crowd.

[The crowd is his element, as the air is that of birds and water of fishes. His passion and his

profession are to become one flesh with the crowd.] (1954, 9)Baudelaire, represents the

characteristics of the ‘Flâneur’ in portraying of Monsieur G. who is actually named as Constantin

Guys. He is an artist producing his works out of daily Paris street life. Baudelaire calls him ‘man of

the crowd.’ And he emphasizes him as the figure of ‘fantastic reality oflife’ which can only be cited

by the eyes and experiences of Monsieur G.

[Imagine an artist who was always, spiritually, in condition of the convalescent and, you will

have the key to the nature of Monsieur G. Now convalescent, like the child is possessed in the

highest degree of faculty of keenly interesting himself in things, be they apparently the most trivial.

(1974:7)]

Guy’s immersion into the mass culture of his society’s present makes him important to

Baudelaire. Being at the present is a spiritual quality which is also advice in Bhagavad-Gita. One can

be at the present if one doesn’t attach oneself neither past nor future which are not existing actually.

Being aware at the present automatically gives the quality of childish sense; curious to any moment,

being outside of the habituated situations of life.


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From the beginning of Bhagavad-Gita Arjuna is expected to be out of his daily conceptions.

Because they are not ’real’. They are illusions. The action itself should be done by completely

awareness by it. (1998: 458 )

During his journey ‘The Fool’ is reminded in each card to be able to stay at the present. Same

quality is endowed to the ‘Flâneur’ by Baudelaire in the ’Painter of Modern Life’. The ‘Flâneur’is the

one, who could place himself totally in the action of strolling.

‘The pleasure which we derive from the representation of the present is due to not only to

beauty with which it can be invested but also its essential quality of being present.’

Detaching from the past is necessary. Because it doesn’t exist anymore therefore it doesn’t

represent the reality. (1991: 225). The way to get the real knowledge of the city could be possible

only staying in awareness since history is productive quality adapted to people.

History (the transformation of reality) cannot presently be used in everyday life because the

people who live that everyday life are the product of a history over which they have no control. It is

of course they themselves who make this history, but they do not make it freely or consciously.

(1959: 6)

The Fool encourages us to experience. Because the only way of getting own truth depends on

one’s own experience. This is as same as the ‘Flâneur’s’ way who is encouraged to explore city by

his/her own experiences and beyond all the conceptions. The‘Flâneur,’ is a discoverer of‘place’ by

his/her own intuition. He is the spirit in the search of experience. Discovering the real vision of the

city in which the mundane realities of everyday life masks the eternal city (2011: 57).


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3. Conclusion

The ‘Flâneur’ and ‘The Fool’ of Tarot are motivated from their strong curiosity. They

discover everyday life with the eyes of a child. During their journeys, staying in harmony and

keeping balance is important. The way of the dérive and the journey of ‘The Fool’ depends on flow

in action while staying beyond all the preconceptions. To them everything around is a new way to

discover. Both for the ‘Flâneur’ and ‘The Fool,’ the journey is nothing but to discover their own

selves. Being intuitive is the key. The Magician reminds this to the Fool at the beginning of his

journey. Detaching from the habits enables to discover ’the fantastic realities of lives.’ This can be

possible with self-realization. Isolation is a trap which is produced by the system. This should be

avoided.

[Functional means practical. The only thing that is really practical is the resolution of our

fundamental problem: our self-realization (our escape from the system of isolation). This and

nothing else is useful and utilitarian. Everything else is nothing but by-products of the practical,

mystifications of the practical.] (1959: 6)

To Baudelaire, the ‘Flâneur’ was no-one in particular but a ‘strolling through the streets in

the awareness of self.’ He was the real artist of everyday life, a man (or woman) of the crowd. He

was ‘The Fool’ keeping search of himself in the middle of the crowd, in the flow of the daily life.

The perpetual correlation between what is called the soul and what is called the body

explains quite clearly how everything that is ‘material’ or in otherwords an examination of the

‘spiritual,’ mirrors, and will always mirror, the spiritualreality from which it derives.Reality beyond

past and present preconceptions is taking shape and rendering into experiences during ‘The Fool’s’

in the daily life of streets. Being ‘in awareness’ makes it possible to discover everyday miracles in

the streets and to discover what we have and what we don’t have (1978: 53).


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Benjamin, Walter. (1999). Selected Writings II 1927-1934. Trans. Rodney Livingstone et al. Eds.

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Benjamin, Walter. (1997). Charles Baudelaire: A Lyric Poet in the Era of High Capitalism. London:

Verso Books.

Bhaktivedanta, Swami. (1960/1998). Bhagavad-Gita As It Is. Los Angeles: The Bhaktivendanta Book

Trust, 1998 Breton, Andre. Nadja. New York: Grove Press.

Burgin, Victor. (1987). Thinking Photography. London: MacMillan.

Calvino, Italo. (1978). Invisible Cities, New York: A Harcourt Brace Jovanovich.

Coverley, Merlin. (2011). Psychogeography. London: Pocket Essentials.

Debord, Guy. (1959). On the Passage of a Few Persons Through a Rather Brief Period of

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Gleber, Anke. (1999). The Art of Taking a Walk. Princeton: Princeton University Press.

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Lacan, Jacques. (1998).The Four Fundamental Concepts of Psychoanalysis, The Seminar of

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Plato. (1992). Republic. New York: Hackett Classics, trans.by G.M.A Grube,

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Dérive Of'The Fool' Of Tarot And Self-RealizingOf The'Flâneur'

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Transcript of Dérive Of'The Fool' Of Tarot And Self-RealizingOf The'Flâneur'