Welcome to Eureka Street
Looking for thought provoking articles?Subscribe to Eureka Street and join the conversation.
Passwords must be at least 8 characters, contain upper and lower case letters, and a numeric value.
Eureka Street uses the Stripe payment gateway to process payments. The terms and conditions upon which Stripe processes payments and their privacy policy are available here.
Please note: The 40-day free-trial subscription is a limited time offer and expires 31/3/24. Subscribers will have 40 days of free access to Eureka Street content from the date they subscribe. You can cancel your subscription within that 40-day period without charge. After the 40-day free trial subscription period is over, you will be debited the $90 annual subscription amount. Our terms and conditions of membership still apply.
There are more than 200 results, only the first 200 are displayed here.
A major part of Martin's so-called patriotism is anti-Semitism, and Martin soon uses the well-worn trope in which the prejudiced person makes an exception of an individual. After declaring that the Jewish race is 'a sore spot', Martin tells Max he has loved him not because of his race but in spite of it.
The musicians stepped forward, heads close around one microphone. The words of the 23rd Psalm were familiar and re-cast all at once. They met us in hope and in despair in 'the middle of the air'. There was a space of yearning there; the space where artists, songwriters and psalmists send us. That is the place we can be met.
As musician James Blake pointed out regarding Jameela Jamil's contributions to his most recent album, the muse is an objectified woman who is seen to have no direct impact on the creation of the work itself and no creative life of her own, but is merely the source of the male artist's inspiration and a vehicle to project his own desires onto.
No-one should be fooled: the politicians and commentators who condemn civil disobedience are the same politicians and commentators who attack the UN for passing resolutions on carbon; who tell scientists to get back to the lab when they speak out on politics; who do everything they can to keep climate out of the parliament.
Like the flying saucer people documented in When Prophecy Fails, they don't change their minds based on new material. Rather, the discomfort fresh edvidence causes them results in a renewed proclamation of their denialism, as they double down on that identity. The rhetoric might change but the structure remains the same.
The attack, and the travel advisories it prompted, was disquieting: I'd visited El Paso before, had driven from there all along the Mexican border to the remote artists' refuge of Marfa. Now I was about to embark on a journey through New Mexico, and onwards through a different part of Texas. I'd never relied on travel advisories before.
While the current economic climate is cause for concern, it is not the time to panic. A more sensible alternative to austerity is for governments, business, unions and charities to look for ways we can together soften the impact of any global downturn. This will require bipartisan agreement to sacrifice some or all of the budget surplus.
At stake here is who takes responsibility for sector development in the arts as both a cultural and an economic good. Because right now, there is no national organisation or government agency whose role it is to take a responsible, long-term, national view, making sure there are programs in place to address key priorities.
The media often portrays climate change as a political issue. But politicians are the least trusted messengers for climate information. They really turn off the public. The most trusted are scientists, firefighters, farmers and weather presenters. Of these, only weather presenters have a large audience and are already skilled communicators.
This year marks the centenary of British forces landing in Russia to fight the Bolsheviks. Now, Russia is generally agreed to be interfering in liberal democracies around the globe. A Jesuit priest serving as a chaplain to the British forces helps illuminate this oft-neglected story, and reveals a bit of how the Church was adapting.
The first time Jack came to the church he baptised himself. The font was new, the water inviting, and he dunked his ten-year-old head right in. The font had recently been installed in the foyer on a sculpted piece of redgum. The brief for the designers was to make it accessible to all ages. They were delighted to hear of its instant appeal.
109-120 out of 200 results.