The phrase "and the interjections of" is correct and usable in written English.
It can be used when discussing elements of language, particularly in the context of grammar, speech, or writing that involves interjections.
Example: "In her analysis of the poem, she focused on the rhythm and the interjections of the speaker, which added emotional depth."
Alternatives: "and the exclamations of" or "and the interruptions of".
In so doing, he embodied the approach to comedy (and, more specifically, to parody) that film historian Gerald Mast called the "anomalous surprise"—the interjection of a character, a situation, or an event that makes no sense given the context.
With some 50 pictures, including six by Caravaggio himself, it shows how quickly the key elements of his style were adopted – not just the dramatic chiaroscuro, but the emphasis on storytelling, on naturalism and the use of live models, of the importance of gesture and the interjection of real people into biblical scenes.
McDonnell, meanwhile, was victim to this kind of energy, spending too much time having to block the interjections of others and huffing that he couldn't finish his sentence.
Trump's tone was heated; to make this point, he had talked over the interjections of the moderator, Chris Wallace, and he kept on doing so, making clear how little he cares for decorum or democracy.
Irish comedian Maeve Higgins was also able to anchor a slightly-too-freewheeling section of her deliberately rambling set thanks to the interjections of an observant older woman.
The boss lambasted me — "I should belt you, moron!" — and, as I continued to play, I began to skip past his angry monologues, as well as the interjections of a child worker who popped up at the bottom of the screen to plead for decent treatment.
The songwriting and rehearsal scenes are as good as you'll find in any modern musical, but beyond these crafty sequences (and the hilarious interjections of the bandmates, all of whom get just enough screentime for you to want more) is getting inside the head of our lead character.
Its stirring glory, delivered with rare clarity despite the cathedral's soupy acoustic, lies in the vicious brass fanfares, the roaring percussion, the sinewy chamber sections and above all the writing for chorus: the hushed opening "Requiem aeternam", the sour radiance of "Et lux perpetua", the wailing "Libera me" and the ethereal interjections of children's voices.
Thomas Tait's show on Tuesday started as a light, white story — to a fault, even if the clean lines and single colors were finally challenged by the interjection of bright graphic lines at the neck in green, orange and turquoise.
