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There are more than 200 results, only the first 200 are displayed here.
When Alan Alda was 11, he threw a simple inquiry to his teacher. What's a flame? The response he received was less than satisfying. 'All I heard from the teacher was "it's oxidation". That didn't explain anything to me.' It's a neat illustration of a modern problem. Merely presenting over-simplified factoids is no longer sufficient in a world filled with phenomena like climate denial and the anti-vaccination lobby. For science to be communicated effectively, it needs to spark passion and excitement.
If Peedom was expecting to find signs of a growing sense of self-agency behind the docile facade of the legendary 'Smiling Sherpa', she couldn't have predicted a rawer or more tragic scenario against which it would play out. Predictably the turn of events does not sit will with the Western climbers and tour operators, who feel that the outlay of time and money, not to mention the 'bucket-list' imperative to conquer the peak, entitle them to proceed. Polite facades peel away to reveal ugly attitudes.
With more than 30 dead in Brussels just a few short months after the horrors in Paris, the Western world again confronts an assailant in ISIS who deals in fear and bloodshed. In contemplating our responses to such attacks we recognise the historical and current geopolitical realities that have bred the ideologies that fuel them. This messiness is the stuff of a new British film that arrives in Australia this week, which explores the plight of those who might be 'collateral damage' in the hyper-technological 'war on terror'.
When questioned about diversity in his films recently, Joel Coen replied: 'You don't sit down and say, "I'm going to write a story that involves four black people, three Jews, and a dog".' The answer is disingenuous at best. Filmmakers choose what stories to tell and how; with a few exceptions, the Coens tell stories about white men. Just as Quentin Tarantino ought to continue discussing the role violence and misogyny play in his films, the Coens should engage meaningfully with questions of diversity.
On Sunday Drumpf demurred when asked how he felt about former Ku Klux Klan grand wizard David Duke voicing his support for a Drumpf presidency. And yet he still swept the polls in the American Super Tuesday primaries, racking up wins in eight of 11 states. Under Barack Obama the US has had eight years of largely responsible, idealistic executive leadership. Yet rather than shepherding in a new hope-filled era, we find ourselves standing before a chasm of largely uncontrolled id.
In the history of the Second World War and the deathly screed of the Final Solution, the Sonderkommando cuts a pitiable figure. These Jewish prisoners at Auschwitz and other death camps who were forced to perform the logistics surrounding mass murder - the carting and disposal of dead flesh - though patently victims, were viewed by some as collaborators. Son of Saul provides an immersive and impressionistic extrapolation of this ethical and actual horror.
There is cause for both optimism and scepticism in the news that the US and Russia have agreed a ceasefire in Syria. On the face of it, one of the world's bloodiest civil wars is about to come to an end; an end to be guaranteed by the two biggest, best armed militaries on the planet. This should be excellent news for everybody, not least the long suffering civilian population of one of the most bombed countries on earth. So what could possibly go wrong? Well, quite a lot.
As Kate plans a party for their 45th wedding anniversary, news arrives that the body of Katya, Geoff's long-dead first love, has been discovered in a Swiss glacier. The 'life-lie' that emerges turns out to be not so much a concealment but rather a minimisation of truth. The disruption it causes to an ostensibly happy marriage comes not in the form of shocking revelation, but slow-dawning realisation; not that Geoff isn't the man he purported to be, but that Kate may not be what she believed herself to be, to him.
McClellan and his fellow commissioners on the Royal Commission into Institutional Responses to Child Sexual Abuse have a daunting task in the next fortnight, according due process and natural justice to a high profile witness on the other side of the world who has been publicly labeled 'scum', 'buffoon' and a 'coward', being the subject of unauthorised leaks about uninvestigated complaints from a police service which itself is under scrutiny for its past cooperation with the witness and his Church.
Eilis' profound homesickness is evoked by the letters she composes for and receives from her long distant sister and mother. Her sense of awe at this new world is revealed in her interactions with the other, more brazen boarders; and at work, where she is chided by her manager for being too shy with customers. Gradually, familiarity and opportunity allow her to grow in confidence. Her coming-of-age is defined as gradual self-empowerment through the making of small, and sometimes large, choices.
The movement to end violence against women needs men in positions of influence, such as Australian of the Year David Morrison, to add their voices to those of the women spearheading the campaign. Male religious leaders can play an important role, but must first confront an important question: if one of the key causes of family violence is gender inequality, can they speak with authority if they are part of an institution that has no women episcopal decision-makers or leaders?
A government campaign declares 'we've always been good at having ideas. Now we need to get better at innovation: turning ideas into successful products and services.' The message is that we are on the brink of a technological revolution, driven by government. But really we've some way to go. As we have seen with wind turbines, the communities that host new technologies can react with anger and fear. If they are left out of the process, visions of grand, sweeping change can be undermined.
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