This article examines how the experience of migration cultivates a redefined perception of the “self” and the nation as a whole. It explores the construction of gender identity through the works of Elvira Dones, focusing on the novels “Stars Don't Dress Up Like That” and “Sworn Virgin”. Through a critical analysis of characters and situations that present the challenges of cultural integration and gender issues, the study reveals how Dones addresses the experiences of Albanian emigrants and highlights the complex relationships (...) between traditional identities and those formed in the context of migration. The central argument posits that Dones' literature not only reflects but actively critiques and reshapes notions of gender and national identity. Using an interdisciplinary approach that incorporates hybridity theory, diaspora paradigms, and close textual analysis, the article aims to contribute to the dialogue on the role of literature in addressing gender identity and human rights issues in the 21st century. (shrink)

This essay probes the aniconic and iconic elements that pervade Indian visual culture and, more specifically, the aniconic impulse that has structured, for nearly two millennia, the cultivated indifference of Indian, especially Sanskrit, reflective traditions toward the plastic arts. Over the last hundred years, inquiries have concentrated largely on the historical and formal aspects of Indian temples, idols, and images. These attempts, however, are based entirely on the conceptual-theoretical frameworks of the Western tradition. By drawing on Sanskrit reflective traditions, I (...) analyze the relations between symbol, icon, desire, and the body, in order to show the epistemic contrasts between the European and the Indian reflective traditions and their implications for differential modes of being. (shrink)

In this paper, I argue that in the Eudemian Ethics, Aristotle proposes a strong version of the unity of the virtues. Evidence in favor of this strong version of the unity of the virtues results from reading the common books within the EE rather than as part of the Nicomachean Ethics. The unity of the virtues as defended in the EE includes not only practical wisdom and the character virtues, but also all the virtues of practical and theoretical thinking. Closely (...) related, in the EE, Aristotle proposes a different best agent from the one of the NE. The best agent of the EE is the kalos kagathos. The person who is kalos kagathos has “all” the virtues. Kalokagathia is a whole and the virtues are its parts. I investigate how we should understand this whole and the relation between the individual virtues within this whole. (shrink)

Argumenta-se aqui que a melhor interpretação da estética de Peirce é como uma ciência normativa de fins ideais. As influências de Peirce neste particular incluem a noção de kalos de Platão, A educação estética do homem de Friedrich Schiller, e a arquitetônica kantiana. Baseada principalmente nos rascunhos de Minute Logic em 1902 e as Palestras de Harvard em 1903, as características essenciais de uma ciência normativa são discutidas e a relação da estética às outras duas ciências normativas da lógica e (...) da ética é analisada. O conceito de Peirce de bondade estética é desenvolvido, e os critérios para o que ele considera como um summum bonum são examinados. As próprias formulações de Peirce do summum bonum são examinados, inclusive sua noção de razoabilidade concreta, como também uma explicação interessante dos ideais fundamentais encontrada em um fragmento de manuscrito de 1903. O artigo conclui com uma discussão entre o que é chamado de estética positiva e negativa de Peirce, entendido como duas abordagens diferentes à formulação de fins ideais. (shrink)

Our first encounter with Socrates in the Symposium is bizarre. Aristodemus, surprised to run into Socrates fully bathed and with his sandals on, asks him where he is going “to have made himself so beautiful (kalos)” (174a4, Rowe trans.). Socrates replies that he is on his way to see the lovely Agathon, and so that “he has beautified himself in these ways in order to go, a beauty to a beauty (kalos para kalon)” (174a7–8). Why does Socrates, who in just (...) a few moments will be lost in contemplation out on the front porch, care about being beautiful? His remark to Aristodemus is clearly in some sense ironic, but on the other hand, he really has taken unusual care with his physical appearance. Later, in his encomium to love, he will claim that beauty has this effect on lovers: the beauty of the beloved causes the lover to disdain his former way of life and “give birth” to beautiful “offspring.” Is the image of the squat and snub-nosed Socrates all freshly scrubbed and kitted out a comic foreshadowing, or a debunking, of his serious speech? Does Socrates really believe in the transformative power of beauty? (shrink)

Aristotle’s Metaphysics Λ.7 features an argumentative progression from the unwavering actuality of the unmoved mover through its necessity to its goodness, which goodness in turn grounds the manner in which it serves as the ultimate principle of motion, namely, by being an object of love and desire (1072b4-12). One link in this progression is especially brief and startling, namely the second of two inferences in this short sentence: “It is a being of necessity, therefore, and in so far as [it (...) exists] necessarily, [it exists] finely, and it is in this way a principle” (1072b10-11). Aristotle slides smoothly from: x exists necessarily (ex anagkēs) to x exists finely (kalōs), without any intervening step. The seamless speed of this step is bound to give us pause—we naturally read it as enthymematic and start casting about for an intervening premise set. Still more arresting is its apparent move from a descriptive to a normative proposition. From our post-Humean vantage point we may be likely to presume that whatever the missing premise set of this inference turns out to be, somewhere buried in that set will need to be something of the form: if descriptive proposition (DP), then normative proposition (NP). Otherwise, Aristotle’s conclusion will have illicitly inferred a normative proposition from a descriptive premise set, in violation of the Humean edict that one cannot infer an ought from an is. Yet, if we smuggle the norm into our premise set along the way, we have merely relocated our problem. For then we will have asserted, or assumed, that the truth of some descriptive proposition is sufficient for the truth of some normative proposition, namely the consequent of the conditional: if DP, then NP. At any rate, this obtains unless necessity itself is already a normative notion, a questionable assumption, but one we will consider in due course. In either case, though, we need some explication of the route Aristotle follows when he moves, without comment, from necessity to goodness. (shrink)

Our first encounter with Socrates in the Symposium is bizarre. Aristodemus, surprised to run into Socrates fully bathed and with his sandals on, asks him where he is going “to have made himself so beautiful (kalos)” (174a4, Rowe trans.). Socrates replies that he is on his way to see the lovely Agathon, and so that “he has beautified himself in these ways in order to go, a beauty to a beauty (kalos para kalon)” (174a7–8). Why does Socrates, who in just (...) a few moments will be lost in contemplation out on the front porch, care about being beautiful? His remark to Aristodemus is clearly in some sense ironic, but on the other hand, he really has taken unusual care with his physical appearance. Later, in his encomium to love, he will claim that beauty has this effect on lovers: the beauty of the beloved causes the lover to disdain his former way of life and “give birth” to beautiful “offspring.” Is the image of the squat and snub-nosed Socrates all freshly scrubbed and kitted out a comic foreshadowing, or a debunking, of his serious speech? Does Socrates really believe in the transformative power of beauty? (shrink)

Crowning six decades of literary, rhetorical, and historical scholarship, Harry Berger, Jr., offers readers another trenchant reading. Berger subverts the usual interpretations of Plato’s kalos kagathos, showing Socrates to be trapped in a double ventriloquism, tethered to his interlocutors’ speech acts even as they are tethered to his. Plato’s Republic and Protagoras both reserve a small but significant place for a poet who differs from Homer and Hesiod: the lyric poet Simonides of Ceos. In the Protagoras, Socrates takes apart a (...) poem attributed to Simonides and uses this to finish off the famous and supposedly dangerous sophist, Protagoras. Couch City is a close reading of the comic procedures Socrates deploys against Protagoras as he reduces him to silence. But it also shows that Socrates takes the danger posed by Protagoras and his fellow sophists seriously. Even if they are represented as buffoons, sophists are among the charismatic authority figures—poets, rhapsodes, seers, orators, and lawgivers—who promote views harmful to Athenian democracy. Socrates uses Simonides’s poem to show how sophists not only practice misinterpretation but are unable to defend against it. Berger ports his roots as a pioneering literary theorist into this rhetorical discussion, balancing ideas such as speech-act theory with hard-nosed philology. The result is a provocative and counterintuitive reassessment of Plato’s engagement with democracy. (shrink)

In lieu of an abstract, here is a brief excerpt of the content:Reviewed by:Il Mostro e il sapiente: Studi sull'erotica grecaEva CantarellaRiccardo Vattuone. Il Mostro e il sapiente: Studi sull'erotica greca. Studi di Storia 11. Bologna: Pàtron, 2004. 345 pp. 15 black-and-white figs. Paper, €24."Il mostro e il sapiente" (the monster and the wise man), referred to in the title of Riccardo Vattuone's book, are, respectively, the loathed figure of the modern pedophile and an elected official who stands almost as (...) a symbol of wisdom, the great Athenian legislator Solon. Each of them, as Vattuone observes in the introduction, "loves" boys. No one, however, has ever for this reason considered the wise man Solon to be a monster, as today's media tend to view the modern pedophile. Thus it is clear from the title and made explicit in the foreword (7–10) that Vattuone is not merely interested in the past. As he repeats several times, "It is the past that puts the most significant questions to the contemporary age, and not vice-versa" (9, and passim). In this case, the past that interrogates the present is the pederastic relationship, and the question that this has asked Vattuone is whether or not there is a relationship between so-called Greek love and modern pedophilia. According to Vattuone, from the nineteenth century on, the immense quantity of literature about the pederastic relationship oscillates between radical condemnation and attempts to defend the past by "distancing it" (8). Il Mostro e il sapiente, he declares, was written to get away from this "ideological hypocrisy" and to dispel, if possible, "the suspicion that behind the contemporary pedophile there lurk the worst vices, the most obvious repressions of Western culture... and that that person is a creation of the system, constructed as a scapegoat for the unspeakable Other" (9).The following eight chapters are therefore dedicated to this objective. In the first, "Osservazioni preliminari: i crimini di Solone" (Preliminary Observations: the Crimes of Solon), Vattuone begins with an epigram of Straton (AP 12.246) to contest—in my opinion correctly—the reading of pederasty that he calls "anesthetic," according to which the pais would have experienced his relationship with the adult as a kind of social obligation, without feeling desire or pleasure. It is not only the adult that loves and desires, says Vattuone. Pederasty implies reciprocity of affection. On this point, as I observed years ago, I believe it very likely that Vattuone is approaching the truth. (See E. Cantarella, Bisexuality in the Ancient World [2d ed., Yale University Press, 2002], xii–xiii, and, at greater length, "A proposito di C. Calame, L'Amour en grece," Annales ESC 1999.)The second chapter, "Pais kalos. Una bellezza incomparabile" (Pais Kalos. An Incomparable Beauty), argues, correctly, against the idea that the boy's attractions depend on his resemblance to a woman. The scarce contact that Greek [End Page 461] men had with women has nothing to do with the reasons for which the paides from the age of approximately twelve to seventeen years were irresistible to the Greek man. Though their face and gaze might be soft, their body structure and ethos were virile. Pederasty was a relationship between males, among other things allowed and culturally valued only within the age limits to which an ample and exhaustive part of the chapter is dedicated.The third chapter, "Eros, un 'dovere' sociale?" (Eros, a Social "Duty?"), goes into the erotic aspect of the relationship, dedicating ample space to the problem of the so-called origins of pederasty. The Greeks considered that pederasty originated with a crime (the rape of Chrysippus), and modern scholars, according to Vattuone, have followed this line of thinking, concentrating their efforts on the attempt—this is a leitmotif of the book—to save the Greeks from accusations of immorality and perversion. A long section of criticism follows, attacking hypotheses of the historic-psychoanalytic type and those that link the social role of pederasty to "rites of passage," with the objective, according to Vattuone, of distancing it from us and the present world. I do not agree, however. As I have pointed out elsewhere, to connect a sexual relationship with a rite does not necessarily... (shrink)

Bingung ada ujian dadakan? Pingin dapet nnilai bagus dalam semalam? Ada gak sih buku yang simple dan enak buat belajar? Pasti dapet nilai bagus kalo belajar dengan buku ini? Yupp!! Jika kalian menguasai materi yang ada di buku ini, dijamin nilai kalian akan sangat memuaskan. Apalagi jika kalian bisa mengerjakan semua soal latihan yang ada di buku ini dengan mandiri. Emang kelebihan buku ini apa sih? kelebihannya? Banyaaaakk... ada materi pelajaran terlengkap dan ter-update, ada contoh soal dan pembahasan untuk (...) mempermudah belajar, ada latihan soal plus pembahasan yang akurat, dan dengan buku ini kalian dapat menghafal semua materi dengan cepat. Nah, semua kebingungan kalian terjawab di buku ini kan? jadi, tunggu apalagi. Segera miliki buku ini dan persiapkan diri kalian untuk menghadapi ujian agar mendapatkan nilai yang memuaskan. (shrink)

The ancient Greek word kalon can be translated as beautiful, good, noble, or fine—yet somehow it transcends any one of those concepts. In art and literature, it can apply straightforwardly to figures like Helen or Aphrodite, or enigmatically to the pais kalos: the youthful athlete that decorates so much sympotic pottery. In the philosophy of Plato, Aristotle and Plotinus, meanwhile, it takes on an ethical, even transcendent dimension. And yet, the thread between a beautiful painting and the Platonic form of (...) the beautiful is never completely broken. In the summer of 2018, a group of scholars from varying disciplines gathered in Siracusa, Sicily – a place of not indifferent beauty itself – to discuss the nature of to kalon in ancient Greek culture. We were especially interested in the large part of that heritage that derives from or was influenced by Western Greece – the ancient Hellenic cities of Sicily and Southern Italy. The result is a volume that considers art, literature, rhetoric, and philosophy in exploring the nature of beauty. (shrink)

En el Nuevo Testamento griego, el término "kalós" (hermoso, bello) aparece 99 veces y el término "agathós" (bueno), 104. Casi con la misma frecuencia. Se ha traducido y se traduce "kalós" por bueno, lo cual no es exacto. Parece importante retener que Cristo hubiera utilizado tantas veces el concepto de belleza o hermosura, y que invitara al hombre a hacer obras hermosas, a realizar la belleza en su vida. Por eso, según el título de este libro (de 285 págs.), se (...) trata de la belleza no solo que corresponde a la persona de Cristo, sino también la que él comunica a las demás personas, la que se refiere a nosotros por ser obras suyas. Jesús habla de obras "kalá" (hermosas), de frutos "kaloùs" (hermosos) o de corazón "kalê kaì agathê" (hermoso y bueno). La Antigüedad griega también hablaba del hombre "kalòkagathós". Es verdad que todo lo bello es bueno, y viceversa, pero hay que matizar. El propio Jesús se autodenomina "kalós", hermoso, al hablar de sí mismo en el Evangelio diciendo que es el pastor bello. Una palabra clave del presente libro es “razonar”. Los Evangelios son muy escuetos, dicen solo lo imprescindible, fueron vertidos además en otro idioma distinto del que habló Jesús. Hay aspectos que no son comprendidos si no se tiene en cuenta lo razonable. Para comprender el Evangelio no basta con atender al estricto dato teológico contenido en sus textos, tan condensados, sino que es preciso hacer al mismo tiempo una sutil labor filosófica que permita descubrir lo que implícitamente se contiene en ellos. Esta necesaria tarea —liberada de todo fundamentalismo— muestra lo que es más razonable para saber quién y cómo es Cristo. Por ello el libro lleva como subtítulo "Una comprensión filosófica del Evangelio". Y lo hace sirviéndose principalmente de la filosofía de Marías y Ortega, lo cual —a pesar de ser el instrumento intelectual que mejor permite comprender el Cristianismo— no se había realizado todavía. Gracias a ese método, lo primero que se comprende es precisamente la extraordinaria belleza de Cristo y la que comunica a sus discípulos y a quien se hace su servidor, llamado por San Pablo "kalòs", hermoso. Circula la idea, incluso en algunos ambientes católicos, de que la razón y, por supuesto, la filosofía no son aptas para comprender el Evangelio. Este libro, más filosófico que teológico, reivindica el insoslayable papel de la razón, de la filosofía, de lo razonable, para comprender los Evangelios, y debe leerse como un "ensayo de Cristología según la razón vital". Sus consideraciones están hechas a la luz de la razón. No de la razón abstracta, propia del racionalismo, que poco o nada tiene que ver con ella, sino de la razón vital; de la razón sin más. De la razón que conduce a la fe; de la fe que conduce a la razón. El dato histórico, irrefragable, de los cuatro Evangelios postulaba que se estudiara iluminándolo con la razón, sin la cual la fe queda mutilada y coja, abstracta, sin luz propia. Pero la razón había sido frecuentemente vista en ámbitos clericales con malos ojos, con cierta sospecha, sin darse cuenta de que, si es auténtica —y no algo reduccionista—, ilumina, clarifica, disipa las tinieblas. Especialmente porque, en última instancia, la razón procede del Logos, Cristo, la Luz, la Razón por antonomasia, fuente y origen de ella. En el Prólogo de San Juan se unen la razón y la vida; se trata no de una razón abstracta, sino vital. El "Lógos" es entonces la Razón vital. Lejos de ser enemiga de la vida, como sostenían los irracionalistas, la razón es una función vital. Quien recibe al "Lógos" con fe fundada en el amor debe esforzarse por intentar entenderlo con la razón, por buscar su inteligencia. El "Lógos", Cristo, ilumina a quien lo recibe para que se produzca esa comprensión. Los griegos definían al hombre como "zôon lógon échon", el viviente que tiene logos, que tiene razón. Cristo se presenta como el Logos, la Vida ("Zoé") que ha creado a su imagen y semejanza a ese viviente que tiene logos. Luego la razón no se debe subestimar o despreciar, es algo divino; Dios, fuente y origen de toda razón, la Razón misma, desea ser comprendido mediante ella, depositada en cada hombre. «Si la Sabiduría es Dios, el verdadero filósofo es el que ama a Dios», escribe San Agustín. Porque el filósofo es el que ama la Sabiduría, Dios. Jesús dice que «la Sabiduría se ha justificado por sus obras», que «la Sabiduría se ha justificado por todos sus hijos». Los hijos de la Sabiduría, de Cristo, la aman, la justifican, la acreditan, la razonan porque son filósofos. Y la filosofía, el amor a la Sabiduría, es absolutamente necesaria e imprescindible para comprender a Cristo y su Evangelio, que siempre enseña lo razonable. (shrink)

In this paper I will argue that, in Aristotle’s thought, the political commitment of authentically wise men is ultimately motivated by an intellectual rather than by a merely practical interest. Through analysis of Eudemian Ethics A 4. 1216 a 23-7 and Q 3. 1248 b 8-37 I shall contend that the socalled “true politician” is to be identified with a kalos kai agathos man, i.e. with an individual who – rather than being driven by mere desire for the promotion of (...) the common good – acts in the ultimate analysis out of a deep concern for the inherent worth of moral virtue. I shall propose that, while acting “for the sake of the fine”, the true politician aims not only to reach an appreciation of moral virtue independent of the possible benefits this can bring about, but also to maximize contemplative activity within the political sphere. After a preliminary introduction to the issue of true statesmanship, I try to understand in what respect the good differs from the fine, and I shall offer an account of the relationships between the two notions at issue by reference to their occurrences in the Eudemian Ethics and in the Metaphysics. I will suggest that the fine, if predicated of the practical good, expresses its intelligibility and liability to contemplation. In the second part I concentrate on the issue of kalokagathia and enquire into to kalon from the point of view of the lawgiver’s intentions and motives of virtuous action. (shrink)

Enthält: Die Herkunft der platonischen Kardinaltugenden / Otto Kunsemüller. And, Kalos kai agathos / Hermann Wankel.

O objetivo deste estudo é propor um modelo explicativo ao problema da beleza desenvolvido no diálogo Hípias Maior de Platão. É um lugar-comum entre os estudiosos defender o senso aporético do diálogo, ressaltando como todas as hipóteses formuladas são descartadas pelos interlocutores, tese que é geralmente endossada pela afirmação final de que as coisas belas são difíceis (304e8). No entanto, no epicentro deste emaranhado de hipóteses, algumas conclusões importantes surgem e serão, conforme se espera demonstrar, fortemente incorporadas em outros lugares (...) daquilo que chamamos de corpus platônico. Assim, a partir desta condição fragmentária, inerente ao próprio texto, e através dela mesma, a presente dissertação visa propor um senso de unidade ao diálogo. Para cumprir tal intento, defende-se que a estrutura do diálogo repousa em três características centrais, sendo estas responsáveis por qualificar o belo em si, são elas: a ordem (kalós é identificado com o kósmos, a ordem, à medida em que estabelece um principio estético de organização, garantindo a ordem harmônica dos seres); a admiração (isto é, o objeto perseguido tem uma validade permanente e universal de estima e, neste sentido, aparece conectado àquilo que é genuinamente bom (agathós), embora a ele não se limite); e, por fim, o comum (kalós é identificado com o koinós, o comum, pois é apresentado como aquilo que é compartilhado pelas coisas belas). A partir destas atribuições, espera-se alcançar uma designação apropriada do belo, de modo a conferir uma certa dignidade e prestígio a um diálogo pouco abordado nos estudos platônicos. (shrink)

Estetyka F. Schillera jest ogólną filozoficzną teorią piękna, sztuki i kultury. Ideał człowieka - doskonale rozwinięte Jednostki ludzkiej - pochodzi z inspiracji myśli Kantowskiej, jednakże Schiller próbuje przedstawić go w odmienny sposób. Nawiązując do antycznego wzorca człowieka pięknego i dobrego zarazem (Kalos Kagathos), podejmuje Schiller polemikę z antropologicznymi konsekwencjami metafizyki myśliciela królewieckiego., U Kanta najważniejsze problemy ludzkie, poszukiwanie istoty człowieczeństwa i formuły życia najbardziej z nią zgodnego, wyrażają się w języku etyki, w pojęciach: dobrej woli, autonomii moralnej, imperatywu kategorycznego. U (...) Schillera poszukiwanie zasady jedności i pełni człowieka (harmonijnego połączenia elementu racjonalnego z tym, co zmysłowe i emocjonalne) zatrzymuje się w sferze sztuki i zostaje przełożone na język piękna. W sztuce i dzięki sztuce (wychowaniu estetycznemu) spełnia się to wszystko, co decyduje o duchowej wielkości człowieka, jego twórczej aktywności. Ze sztuki emanuje wzorzec pięknego człowieczeństwa, w niej osiągnięta zostaje wolność. Faktem pozostaje wszakże, iż po 1796 r. Schiller wyraźnie nawiązuje i powraca do postulatów etyki Kanta. Myśl o pełnym urzeczywistnieniu ideału "homo aestheticus” jest zastąpiona przez program, który wskazuje na perspektywę transcendencji. Element piękna przeobraża się w kategorię wzniosłości, patetyczności, a jednostka ludzka w tragicznej katharsis przeżywa swoją wielkość. Estetyka przeobraża się w metafizykę. Z tego punktu widzenia można ocenić estetyczny program Schillera jako formę przejściową od filozofii Kanta do poglądów jego następców - Schellinga i Hegla. (shrink)

Posing the question of beauty anew, Gadamer pursues a hermeneutic remembrance of the original relation of beauty and truth forgotten by modern aesthetics. For Gadamer, the essential relation of kalos and aletheia is preserved, above all, in Plato. This essay elaborates his retrieval of Plato, re-thinking the splendor of beauty and the illumination of truth from being as an event of coming-to-presence. After discussing his engagement with Heidegger the essay reconstructs Gadamer’s interpretative argument, showing how he interprets the transcendence, radiance, (...) and measure that characterize Plato’s idea of the beautiful as structural features of being as an event of truth. (shrink)

Scientific explanation is both instrumental and consummatory. When we experience scientific explanation in its consummation, we experience what I have deemed a creative moment of scientific apprehension, which is an important aspect of creativity that comes at the end of inquiry and contributes to the development of future inquiry. Because scientific explanation is commonly cleaved from aesthetic experience, this moment of creativity has been neglected in both analyses of scientific practice and analyses of aesthetic experience. By synthesizing John Dewey’s conceptions (...) of scientific explanation and aesthetic experience with Charles S. Peirce’s categories, this moment of scientific inquiry is revealed and understood as a fundamental part of our creative reasoning process. In order to argue that scientific explanation is both instrumental and consummatory, Dewey’s instrumental conception of scientific explanation is provided, which includes why science is so often considered as separated from aesthetic experience. A general overview of Dewey’s conception of aesthetic experience and the common division conceived between scientific experience and that of aesthetics is also provided. Reasons are then supplied to reconsider scientific experience as having an aesthetic dimension, especially with regard to scientific explanations and the creative moment of scientific apprehension, which is followed by a brief discussion concerning how recognition of this moment reveals an important aspect of creative reasoning that is to be understood as a part of our experience through what Peirce referred to as firstness and secondness. Analyzing the aesthetic experience of scientific explanations against the backdrop of Dewey’s conceptions of aesthetics and science, combined with Peirce’s categories, accounts for that creative moment of scientific apprehension in which a scientific explanation takes on the quality of kalos, or sense of general harmony, that inspires reverie and future inquiry. (shrink)

In the Timaeus Plato describes the world as the ‘most beautiful’ of generated things. Perhaps indeed this is the first systematic description of the beauty of the world. It is, at any rate, one of the most influential statements of the theme. The Stoics were deeply convinced by it and later, in the third century A.D., at a time when contempt and hate for the world were propagated by Gnostic movements, Plotinus, interpreting the Timaeus, would write magnificent passages on the (...) beauty and value of the world. But what does Plato mean by the ‘beauty’ of the world? What makes the world beautiful? In this paper these questions are approached first by a brief discussion of the distinction which Plato appears to make in the Timaeus between beauty and the good. In one passage ‘measure’ seems to relate to this distinction. It is suitable then to look at a section of another late work of Plato, the Philebus, where the themes of beauty, goodness and measure may be compared in more detail. The theme of measure then takes us back to the Timaeus, in order to examine the role played by measure, in particular mathematical measure, in constituting the beauty of the world. I discuss in detail the way in which mathematical structures make for the beauty of soul and body in the living whole that is the world. (shrink)