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Three walking artists in Iceland
Patti Lean

perilous journey. Following a call for photographs of cars stranded in rivers, the artist received more than a hundred images from members of the public, from which a final piece was curated. My favourite image is pure Monty Python: a floppy-haired 1970s dude squares up to the deluge from the bonnet of his semi-submerged red Land-Rover. If tölt seems a perfect example of interplay between human, nonhuman and environment, there are times on our walking journey when I sincerely wish we could tölt our way through this landscape. On long hikes this leads me to muse on

in Extending ecocriticism
An introduction
Neil Cornwell

the local village idiot, culminates for us in the theatre of the absurd, Milligan and the Goons and Monty Python’s Flying Circus, and it represents the depth and breadth of this strain of humour wherein the bitter surface froth of satiric humour is replaced by a deep and rich visceral laughter with which in fact Bergson has not the apparatus to deal. (Parkin, 32) Stewart comments on slapstick as ‘an infinite action that never arrives, never gets anywhere’ as a part of her discussion on the quality of ‘circularity’ frequently to be found in nonsense (Stewart, 129

in The absurd in literature
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Neil Cornwell

another Oxbridge grouping who, in the late 1960s, formed Monty Python’s Flying Circus, which enjoyed a cult following among the younger generation with its four television series (from 1969 to 1974) and films (especially the Gospel burlesque, The Life of Brian, 1979). Many of these figures (including Miller, Cook and John Cleese) had come through Cambridge ‘Footlights’ reviews; most of them, along with representatives of a younger comic generation and pop musicians, came together in the Amnesty International shows, The Secret Policeman’s Ball (1979–89). From the Python

in The absurd in literature