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Olivier Thomas Kramsch

) (Aragon 1926). This chapter seeks to draw on the unruly energies spawned by these earlier, urban-based political and artistic avant-gardes in order to explore questions of time, memory and mobility within a contemporary internal European borderland, located between Germany and the Netherlands. The ‘method’ of modern flânerie will specifically allow me to connect the temporal dimension of this borderland to a recent and growing interest in the fields of social and cultural geography with practices of ‘walking’. Current attention to ambulatory practices within human

in Migrating borders and moving times
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Christian Suhr

of the time-image is the reinstatement of belief in the world. As he writes, modern cinema makes us ‘believe, not in a different world, but in a link between man and the world, in love or life, to believe in this as in the impossible, the unthinkable, which nonetheless cannot but be thought’ (Deleuze 2005b : 164). Even though Deleuze locates this development in the rise of a particular form of avant-garde cinema in the mid-twentieth century, many of his formulations resonate well with Kierkegaard's understanding of the double movement of faith conceived of as the

in Descending with angels