Sentence examples for dread of war from inspiring English sources

The show's curator, David Elliott, adds the ever-present dread of war and — more than justified, this month — of natural catastrophe.

In 1939, while the world lived in dread of war with Hitler's Germany, Stalin's Russia was still gripped by the more immediate horror of the knock on the door in the early hours of the morning.

Any nation that loses its dread of war loses its moral compass, and an organisation that existed purely to remind policy-makers of the horrors of military action could not merit the amount of criticism levelled at StW in the past few weeks.

But most of the time Tutino's dramatic urgency keeps the dread of war present and acute, conveying that, like it or not, being at the edge of life and death is relentless.

In May 1982 she created the "Earth Ambulance" for a road trip to American Strategic Air Command bases, to rescue earth, metaphorically, from the dread of nuclear war.

But public dread of nuclear war (covered here by an eccentric scheme to build a nuclear-proof town) is surely something that, unreasonably or not, has grown smaller rather than larger.

Our heroine is Cathy Whitaker Julianne Mooree), who lives with her husband, Frank Dennis Quaidd), and their two pre-teen children; of a nation crouched in dread of nuclear war there is little sign, although we can be fairly certain that, if the end of the world happened to be nigh, Cathy would politely ask it to wait while she checked that her shoes matched her skirt.

Let us not, like timid soldiers who effeminately dread the shock of war and the call of the trumpeter, inertly offer to the ravening foe the backs of our shoulders rather than the bosses of our shields!

The narrator states at Persuasion's end that "the dread of a future war [was] all that could dim her sunshine".

Countdown to Zero is a film that all should see, especially younger people and students who never experienced the nuclear dread of the Cold War and consider nuclear weapons to largely be a non-issue.

Both films delve into the city's flourishing late '60s counterculture (in Ms. Varda's film, through a fictional threesome involving the Warhol superstar Viva and the creators of "Hair," Gerome Ragni and James Rado), imagining a candy-colored hippie utopia threatened by lengthening shadows of war (dreaded) and revolution (dreamed of).