Sentence examples for current of emotion from inspiring English sources

Most of the "ER" veterans reflexively — yet with a deep current of emotion — refer to their workplace as home and their co-workers as family, and for some it is literally true.

With The Buddha in the Attic, Julie Otsuka has developed a literary style that is half poetry, half narration – short phrases, sparse description, so that the current of emotion running through each chapter is made more resonant by her restraint.

Indeed, this vigorous tale of a marginal band of artists in Manhattan's East Village, a contemporary answer to "La Boheme," rushes forward on an electric current of emotion that is anything but morbid.

The affair that erupts between Charcot and his patient goes against the protocols of treatment, but it — or at least the underlying current of emotion — is also part of how the treatment works.

It is the last time this will happen, and a palpable current of emotion courses through the stands at Indianapolis Motor Speedway – more than one might expect given the singer is a rangy Alabama native best known for his portrayal of a bumbling mechanic.

I was constantly swept up in a current of emotion and carried wherever it went.

"The qualities he had on the inside were the things I had on the outside, so I reminded him of his frailty," said Springsteen, trying to describe the "terrible cross-current of emotion" between them.

"Ida" might be called static were it not for the currents of emotion from shot to shot, which electrify the women's relation to each other throughout.

All too often, the way positive feelings blend into the negative sets off secondary currents of emotion which intensify the relationships.

In short there is an over-emphasis, an over-weaning power of expression, that obscures the counter currents of emotion lying beneath the surface of the work of those five pantheon directors, in such of their masterpieces as Voyage to Italy (Rossellini), Gertrud (Dreyer), or Lancelot du Lac (Bresson) which are truly beyond criticism.

In short, there is an over-emphasis, an over-weaning power of expression, that obscures the counter currents of emotion lying beneath the surface of the work of those five pantheon directors, in such of their masterpieces as Voyage to Italy (Rossellini), Gertrud (Dreyer), or Lancelot du Lac (Bresson) which are beyond criticism.