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With COVID-19 having reached the prison population, the risks for prisoners are real. It is plain to see that prisons are vulnerable environments. Hundreds of people detained in close confined quarters and concerns around hygiene standards and access to masks are but some of the issues that make them fertile ground for the virus to grow in.
With all its good intentions and charming participants, Love on the Spectrum is for the neurotypical eye. Just like The Undateables, a similar show from the UK, it takes the inner machinations of disabled lives and creates entertainment for non-disabled viewers. Autistic representation on television is rare, which makes it all the more alienating when these few depictions exist purely for everyone else’s warm-n-fuzzies.
He enters a university library at thirty-five feeling like an imposter, rougher-hewn from suffering than most students, wrapped in an aura he thinks religious pilgrims experience shuffling along echoing naves of Gothic cathedrals, sombre, joyous.
Government attitudes towards universities, the humanities and the arts, are often a strange mixture of ignorance, blindness and misplaced priorities. It is almost as if their graduates fail to match the image of what the government would prefer Australians to be.
The streets were packed there were thousands of people there to march in solidarity with us. It was so incredibly heartening. Australia is growing. The only time I have felt this atmosphere was in Sydney in the 1988 march on Australia Day. But this time was different very different it was predominately young people under the age of 30. They get it, they do see it.
Illness, so apparently explicit and ever more obvious as it progresses, in fact defies definition: submitting apparently to scientific and medical description, it escapes into a quality of pain, exquisite loss or appalled helplessness that is often most clearly captured at the heart of great works of art.
The world-wide chaos caused by the outbreak of the coronavirus has underlined a lesson that was only partly learned in the Global Financial Crisis of 2008. In a more interconnected world the understanding of system-wide risk needs to be much better than it is.
Last year, two documentaries regarding the Adam Goodes booing fiasco were released mere weeks apart: Shark Island Productions’ The Final Quarter and Madman Films’ The Australian Dream, anchored by Stan Grant. Given the topic and timing of both of the films, I couldn’t help but compare the two films as an Aboriginal viewer who spends a lot of time dissecting Australia’s racism in her own analysis. As I watched both of them, my reaction to each was markedly different.
The multi-front war in the Middle East continues to heat up. After the American assassination of Iran’s Maj. Gen. Qassem Soleimani and the deputy leader of the Iraqi military’s Popular Mobilisation Committee at the start of the year, and the subsequent refusal of the US to heed the Iraqi Parliament’s request to end its occupation, the focus has recently moved back to the Syrian front.
Around 40 per cent of the world's carbon emissions are produced by countries with similar outputs to Australia. Collectively these countries can make a significant difference if each reduces their carbon emissions. While Australia can make a difference as part of a collective, our real ability to effect change actually lies elsewhere.
Outside, a Martian-red haze kisses the windows. An ode to the future perhaps. Most of the people present are already aware of the Medevac repeal decision. The room is heavy with silence, the mood is sombre, but far from resigned. We want change, and are willing to have a crack at demanding it.
In light of the banking royal commission and the government's work in developing a plethora of transparency and integrity measures, it beggars belief how Brian Hartzer and Angus Taylor could bring upon themselves and their respective institutions so much unwanted publicity.
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