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A significant portion of the work that goes on in our economy is voluntary. It features in many contexts, such as social welfare, mentoring, animal welfare, landcare, local sport, and arts and literary activities. It can be hard to make a case for volunteering at a time when labour exploitation is rife. Students, migrants and Indigenous people, who need to establish work experience, are particularly vulnerable when it comes to unpaid work. This does not mean that volunteer work can never be meaningful.
Absent a Security Council resolution, the US had operated independently, adopting a policing and punitive stance against the Assad regime. 'This action,' House Speaker Paul Ryan insisted, 'was appropriate and just.' If humanitarian intervention is supposedly engineered to punish a regime in breach of obligations to protect the civilian population, it starts looking, all too often, like an act of regime change. At what point is the distinction on such matters as proportion or necessity even credible?
I can think of many films I saw in childhood which still resonate because of their morals and characters. The dark and dangerous fire swamp of The Princess Bride, where Westley must wrestle with rabid beasts to save the damsel in distress, taught me about bravery. The Harry Potter series shows a boy who has suffered a great loss but finds community and purpose during his time at Hogwarts. There's something all these movies have in common: they were all about men.
It is the story of two 17th century Portuguese Jesuits who travel to Japan to locate their former mentor, who is said to have renounced his faith, and to spread Catholicism. They find the local Christian populations have been driven underground, under threat of torture and execution. The lesson they come to learn against this fraught backdrop is that the living out of religious faith and the strengths and limitations of ordinary humanity cannot be considered in isolation from each other.
Israeli Prime Minister Benjamin Netanyahu's visit to Australia this week is having precisely the opposite impact to what he no doubt intended. Instead of shoring up support for Israel's flagrant disregard for United Nations resolutions condemning its continual annexation of Palestinian land, it is driving a deep wedge into what was previously unflagging bipartisan Australian political party support for Israel. Australia's connection with Palestine actually predates the creation of the state of Israel.
'It will be your artists: the poets, painters, actors, dancers, musicians, orators - they will be the ones to lead the changes.' It was one of the many international invited guests, a Maori woman speaker, who made this prediction to the huge 40,000 strong crowd that marched to Hyde Park, Sydney, on 26 January 1988. In South Australia almost 30 years later, this prophecy continues to unfold in the high-stakes battle for country that surrounds the proposed nuclear waste dump.
2017 is set to be a momentous year for the arts in Australia. On 1 November we commemorate 50 years since Harold Holt announced the creation of an independent body to champion 'the free play of our cultural interests and enthusiasms at all levels' — an announcement that meant bringing together disparate focuses and isolated funds with a national vision. Yet today's Australia Council faces an uncertain future, and the free play of our cultural interests is jeopardised by that uncertainty.
To be in the running for a scholarship, a student must have had their abilities or potential acknowledged and rewarded within an ideological education system. Where the money comes from - and whom it is given to - informs what kinds of artwork thrives. As Didier Eribon says, 'art, culture and education are part of the mechanisms of differentiation between social classes'. And the institutional frameworks underpinning the production of artwork can lead to pernicious political outcomes.
Cricket games, feasts, the origami orgy of Christmas present wrappings rent asunder ... the underlying truth in all of this, for many of us, is deep emotional pain and loneliness that's gone unheard, unnoticed, all year. Family is both a lodestone and a millstone at Christmas. It's a truth magnified by aspirational love. As Pope John XXIII once said, cutting close to home, 'Mankind is a great, an immense family. This is proved by what we feel in our hearts at Christmas.' It's a big ask that carries a price.
Curiously, while privacy continues to be valued and sought in the 21st century perhaps more strenuously than ever before, its milieu is once again the furious turmoil of aggressively public revelation, exhortation and threat that distinguished Johan Huizinga's scarifying portrait of the medieval world, in his book The Autumn of The Middle Ages. In our age, 'all things in life' once again have 'about them something glitteringly and cruelly public'. Or to put it another way, we have social media.
Unless you have lived elsewhere, where taxes and rates rarely manifest as a tangible and permanent benefit, it is easy to take councils for granted. I grew up in a town where potholes are forever, healthcare is ad hoc and libraries are private. The things that I see my local council do as a matter of routine are wild luxuries in other places around the world. Such competencies arguably measure the health of a democracy - it means that most of the money has not been lost to corruption and fraud.
'When I was a kid I liked to stand at the window with a rifle and aim it at people.' So begins the opening, titular essay. It is a singularly arresting entre to an essay that charts the author's complex relationship with firearms (part awe, part terror), by way of commenting on the place of guns in Australian society. In this collection of essays Winton adopts this mode frequently, weaving (sometimes deeply) personal narratives into stirring, thoughtful commentary on a broad range of social and political issues.