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There are more than 200 results, only the first 200 are displayed here.
The tradition of court jesters licensed to criticise the king exists in many cultures. It is part of a broader tolerance of satire in which the foibles and sins of the great can be safely criticised. The Shakespearian fools are typical in representing the view of the common man as he speaks truth to power. Printed cartoons stand in this tradition.
The Venetians came to power in this part of the world after the fourth crusade, during which Constantinople was sacked: this episode is still spoken bitterly of in Greece. The Venetians made many attempts to suppress Orthodoxy, so that prejudice lingers.
Canon law, not usually a household term, has come into the public eye of late, especially in the wake of the Royal Commission into Institutional Responses to Child Sex Abuse. Given this newfound prominence, it seems a good time to have a look at what canon law is — and what it isn't.
Hannah Gadsby's Nanette critiques comedy as an imperfect tool for processing and transcending trauma. Funny Cow, about a woman comedian in 1970s northern England, attempts something similar. Both say something about the intersection of comedy and trauma and what it reveals about how we relate to each other as human beings.
Either they are flat-out wrong, unable to read crime reports or understand what the police and other agencies are telling them (which leaves in question their ability to accurately and intelligently govern), or some apparatchik in the strategy back-rooms has decided it is a good way to garner votes with a 'tough-on-crime' campaign.
Cometh the time, cometh the exploitable prejudice. With millions of globally displaced persons, states are retreating from the business of actually treating the condition as one of dysfunction inflicted by war, famine and poverty. It has morphed from a matter of humanitarianism to one of social ill and unease.
Philip Wilson has been sentenced to 12 months' detention for concealing child sexual abuse. It's very likely that he will appeal his conviction and sentence. An appeal may well succeed, but that's not the end of the matter. This has been a six-year saga relating to events which occurred more than 40 years ago. Emotions are running high.
The views of Kevin 'Bloody' Wilson and Rodney Rude can be summed up in the quote: 'The soft new generation of PC-wary comedians need to grow some balls.' There seems to be a sense that comedy isn't funny nowadays unless it's offensive. But it's more than possible to create comedy that avoids this. In fact, it can be better.
I remember holding your hand, brown against white. Holding it so tight, so the waves of dirty looks and hushed giggles didn't wash my tiny body away. They asked what a 'wet back' was doing with a little white girl. They asked what it was like to have a dad that talked so funny. They asked things I didn't know the answers to.
In perspective, my hair colour really isn't that big of a deal. I don't face institutional discrimination because I'm a redhead. But because of the cultural fascination with red hair, people will always try to project their own ideas about redheadedness onto me. So as I've grown older, I decided to claim this part of my identity for myself.
Ten years have passed since the Apology to Australia's Indigenous Peoples by then Prime Minister Kevin Rudd on behalf of Parliament and the nation. It seems longer. It was a time of great hope. Today, with respect to Indigenous affairs as to much else, fewer people hold great hope that anything good can come out of Canberra.
Yasmin opens the book and runs a lacquered fingernail down its table of contents. 'How we can seduce a man and not fall in love,' she reads. Then: 'How we can learn to keep secrets from men.' Is the government okay with this? 'What can you do?' Yasmin shrugs. 'Everybody knows people fall in love, have sex. This is how life works.'
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