Welcome to Eureka Street
Looking for thought provoking articles?Subscribe to Eureka Street and join the conversation.
Passwords must be at least 8 characters, contain upper and lower case letters, and a numeric value.
Eureka Street uses the Stripe payment gateway to process payments. The terms and conditions upon which Stripe processes payments and their privacy policy are available here.
Please note: The 40-day free-trial subscription is a limited time offer and expires 31/3/24. Subscribers will have 40 days of free access to Eureka Street content from the date they subscribe. You can cancel your subscription within that 40-day period without charge. After the 40-day free trial subscription period is over, you will be debited the $90 annual subscription amount. Our terms and conditions of membership still apply.
There are more than 200 results, only the first 200 are displayed here.
The war reports we hear on the news often focus on statistics: casualties, destruction, and key figures lost. But the true cost of conflict lies in the long-term human suffering. For those living through war, the trauma endures long after the fighting stops.
For decades, Australian political satire has taken aim at the powerful with wit and irreverence, forging a distinct comedic tradition that holds up a mirror to society, revealing truths in the face of national absurdities. Now after 25 years, the iconic Wharf Revue takes its final bow, closing a celebrated chapter in the story of Australian satire.
At an ACU graduation event, students walked out in protest as Joe de Bruyn gave an address condemning abortion, single-parent IVF, and same-sex marriage. The event highlights tensions for Catholic institutions trying to balance traditional Catholic values while also embracing often opposing perspectives a diverse, pluralistic society.
The Catholic Church recently displayed two strikingly different faces. In Rome, the Synod on Synodality wrapped up with a facade of unity. But back in Melbourne, a Catholic University’s graduation became a battleground over church doctrine and free speech, exposing deep, unresolved fractures within the church.
In 1968, Peter Norman won Olympic silver, but his lasting legacy was a stance for justice on the podium alongside Tommie Smith and John Carlos, where he wore an Olympic Project for Human Rights badge in solidarity. Yet his quiet protest led to lifelong exclusion at home, recognition arriving only posthumously.
I wish I could tell you why Nobody wants this is so funny without giving spoilers. Add to that the real tenderness between the two lovers, and you’ve got something unusual: a believable romance, funny and sometimes surprisingly honest with little moments of humility and vulnerability.
There once might have been a distinction between ‘Christian journalism’ and ‘Christian PR’, however today those lines are far more muddied. The demise of the Australasian Religious Press Association might have been brought about by changing tides, but for those of us left it leaves one less lifebuoy to cling to.
In prosperous times many people in developed nations are sympathetic to refugees and migrants and welcome them into their own societies. In hard times, however, xenophobia spreads.
Though little known in Australia, Abraham Johannes (A.J.) Muste spent his life commending pacifism and leading movements to make the world more just. His commitments to pacifism may still seem extreme to many. But will anything more mild address the threats facing the world from violence, inequality and apathy?
How do you try to turn a human into something less than human? You take away their voice. The Taliban in Afghanistan have recently introduced new laws that ban women’s voices and faces in public, continuing the extreme subjugation of half the Afghan population.
In the early 20th century, the Salvation Army emerged as a dominant player in the nascent film industry. From pioneering filmmaking techniques to navigating the first moral dilemmas around film censorship, their cinematic journey is a fascinating, often-forgotten chapter in film history.
Good poetry stops us in our tracks, visited as we are by whatever it is that has stopped the poet in his tracks. This agency may properly be, as in Walcott's case, something stemming from cultural marginality, from a fascination with the dramatic, from an equipoise between the lyrical and the epical, or from the interweaving of all these. (From the Eureka Street archives)
1-12 out of 200 results.