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This past weekend, I visited my grandparents in their residential aged care home. As usual, it was both lovely and utterly heartbreaking. Lovely, because I feel so lucky to be able to spend time with them, that they are still alive, their home is accepting visitors, and they still remember who I am. But, also, heartbreaking, because aging is tough, and living in residential aged care is tougher still, and this year, well, this year has made it all so much harder.
Phyllis Zagano’s latest book Women: Icons of Christ is a must read for all who desire equality for women in our world and an inclusive practice of Catholic faith. The critical issue Zagano presents in this book is that ordaining women to the deaconate is a not a new or forbidden act in Catholic history but rather a return to a practice that endured for hundreds of years.
Three people died within ten days of each other in the latter part of September who have gifted great legacies that call for reflection. I find reason to bring them together here in an attempt to highlight the threads that bind them; those of women of influence. Their stories are undoubtedly varied, yet they have all contributed to the broader advancement of women and ultimately, people.
A common argument is that publicly-funded artists take unnecessarily from the ‘average Australian’. In the current international crisis, this argument fails to recognise that artists and arts workers are just as deeply impacted financially by COVID-19 as the ‘average Australian’ in other industries.
Social media, while a blessing, has also become a curse for survivors in Pakistan. The platforms are widely used by survivors to share their stories of sexual harassment, molestation or rape. It also gives users a chance to comment and provide leeway for the perpetrator.
Recent weeks have seen the deaths of former NSW Liberal Premier and federal Finance minister, John Fahey, and former Labor federal minister, Senator Susan Ryan. They were both exemplary public figures who not only made a major contribution to Australian public life but did so in a way that drew praise from all sides of politics.
Tall Fences, Taller Trees, directed by Dutch-based Iranian filmmaker, Arash Kamali Sarvestani, is a companion to Chauka, Please Tell Us the Time, which Sarvestani co-directed with Kurdish-Iranian writer and Manus Island detainee, Behrouz Boochani. On its most basic level Tall Fences, Taller Trees documents the making of the first film, but it is far more than that.
It’s tempting at this point to blame 2020 for the almost comically bad situation we are facing right. But here’s the thing: this isn’t bad luck or even some kind of testament to the power of numerology. This dire situation was entirely predictable and even, sadly, entirely preventable. We walked right into it — or, at least, we allowed ourselves to be led here.
The objections to the legislation focus correctly on the infringement of human rights. That phrase, however, is bloodless. It might suggest that rights form a list to be ticked off. Human rights are better conceived as a way of speaking about the conditions necessary for people to live decent human lives. The proper place from which to reflect on them is the actual lives of the people who are affected.
The strange thing is that those chest-beating about terrorism rarely made an issue of when terrorists of the modernist Islamist variety (such as al-Qaeda, Jemaah Islamiyah and ISIL) attacked mosques, Muslim shrines and Muslim congregations. Nor do they report of just how fringe and hated these groups are in their own countries where the bulk of their attacks take place.
The Buhler arrest stirred a range of responses from across the political divide, many troubled. Legal representatives and human rights advocates were similarly disturbed by what they regarded as a lack of proportion and restraint in police action.
I have been thinking for several months about fathering and wisdom. To my surprise, I found some of Marcus Aurelius’ truisms to be reflected, if erratically, by the pronouncements of my own pater familias, Kenneth Hugh Gittins.
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