The most important feature of exempla which was not taken duly into consideration is their special «chronotopos» (Bakhtin’s term), i.e. the unity of space and time representations. Indeed, the exemplum reproduces the whole structure of medieval man’s world in a very restricted space and using a minimum of personages. Moreover, the exemplum presents an encounter of the two worlds, the earthly one with the person acting in the exemplum, and the other world. Christ, the Virgin, saints and the dead, or demons and even the Devil miraculously and suddenly intrude, for a shirt moment, into the everyday life of the hero.

Thus, the earthly microcosm, the peasant’s or burgher’s house, the monastic cell, the castle, the road in the forest, or the church, turn out to be, at the moment of this intrusion, the stage of the interaction or even of the struggle between a man and some supernatural forces. The sacral space supersedes, for a little while, the profane space, coincides with it transforming the daily life. This encounter of the two worlds is accompanied by displacement in time, for eternity intrudes into the time of the earthly life abolishing it, also for a little while. This intersection of the different systems of time and space which seem to be incompatible, results in a situation in which the action takes place here and there, and, therefore, neither here, nor there, but on a quite different spacio-temporal level. Such a dramatic collision is a cause of a radical change in a man’s life, or even of his death and his soul’s destiny.

The «chronotopos» of exempla reveals the deep specificity of medieval mind. The high heuristic value of this genre for the historian consists in the self-exposure of medieval culture which takes place in exempla. They represent the smallest parts of the consciousness which has not yet organized its contents into finished cultural creations. These «atoms» of the mind were constantly present in the memory of culture and could be found in literature and art.

The book contains an Introduction and twelve chapters, in which are studied different aspects of the world vision of the thirteenth century man as were refracted by the exempla.

Chapter 1 treats exempla as literary genre in which specific features of medieval mentality are expressed. The following chapter are devoted to the central problems in which the preachers were immensely interested, that is the relation of the world of the living men to the world of the dead (Chapter 2); and the originality of the eschatology in exempla, in particular, the prevalence of the image of the individual trial of a dead man’s soul over the idea of the Doomsday at the end of times (Chapter 3). This paradoxical coexistence of the two eschatologies is studied also by analysis of imagery on the tympanon of Western portal of Saint Lazare Church (Autun, Burgundy, Xllth century) (Chapter 4).