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TV is about performance too – in my case it's about the communication of passion, emotion, belief.
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The communication of passions across populations is a crucial bit of glue holding civil society together.
Malebranche emphasizes that the communication of passions takes place through purely mechanical means.
Hume's account owes a great deal to Malebranche's account of the mechanical communication of passions.
But although it usually greases the wheels of human interaction, the social communication of passions can also exacerbate their detrimental aspects, e.g., by allowing the passion-induced errors of one person to be replicated across an entire population.
And Hume does not seem to assume that the production of like from like is the only, or even the primary, way in which the communication of passions promotes social cohesion.
Hume needs some trick to fortify the idea of the self, because he will rely on our possession of a lively idea of the self, one that will serve as a source of vivacity, for his account of the sympathetic communication of passions.
As such, the communication of passions serves to join "men together in relation to good and evil and [make] them exactly like one another not only in their mental disposition but also in the condition of their body" (ST V.7, 377).
The duet is a beauty, and in the hands of artists like these, it is a perfect example of the immediacy and intensity of dance's communication of great passion.
Malebranche adopts the same attitude towards the communication of the passions that he showed towards the passions individually: they are basically functional.
Spinoza likewise disputes Malebranche's functionalist assumption that the communication of the passions tends to promote civil society.
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Justyna Jupowicz-Kozak
CEO of Professional Science Editing for Scientists @ prosciediting.com