Folding Time: Honorius Augustodunensis' 'Imago Mundi'

The Imago mundi or "Image of the World" was composed around 1110 by Honorius Augustodunensis, one of the most prolific authors of his age. Presented in the form of a mappa mundi, the Imago offers its reader a verbal 'image' of the cosmos, covering topics ranging from the atom to the heavenly spheres. Despite being one of the most popular works of the central Middle Ages, scholars rarely regard the Imago as a text possessing serious literary merit, dismissing it instead as a derivative exercise in compilation. This essay argues that the Imago is in fact an ambitious literary undertaking with a coherent spiritual agenda. While Honorius recycles (like many of his peers) earlier medieval and especially Neoplatonic cosmological ideas, his text shapes that material in new ways – into a spiritually transformative journey through and above the cosmos, and into the self. At the same time, throughout the work Honorius deploys a range of strikingly material metaphors to describe the world from the perspective of eternity – most notably, the rope of time. In this further literary sense, the ascent to eternity entails a recognition that we dwell in images

Time in the Twelfth Century

Guest editors Sarah Bowden, Lea Braun and George Younge introduce Issue No. 10 of Interfaces: A Journal of Medieval European Literatures, dedicated to the theme of 'Time in the Twelfth Century,' and offer a general overview of the matter and contents of the contributions

Narrating Time in the Twelfth Century

The essays that make up this special issue of Interfaces share a common interest in the narration and representation of time in twelfth-century texts. The volume focuses primarily on works that we would now regard as 'literary:' writing that prompts an affective response in its audience through the tactical use of rhetoric and form. The issue is primarily concerned with writers operating in England, France and Germany, a cultural zone bound together in the central Middle Ages by the relatively fluid circulation of people, books and ideas across territorial boundaries. While the focus is on the literatures and languages of these regions (vernacular and Latin), the contributors have worked up their essays with an awareness that this is an editorial choice with respect to scope and scale, a choice that brings certain patterns into view at the expense of others. England, France and Germany are conceived of here as a cultural zone nested within a series of larger spaces, with graduations including, but not limited to, western Christendom (overlaying the world of Roman antiquity), eastern Christendom (overlaying the ancient Greek world), and a larger Afro-Eurasian frame. In the broadest terms, what brings these essays together is a common interest in the representation of time and temporal structures in twelfth-century narrative. All concern the way in which different kinds of texts, written in different languages yet in the same period, organize and structure their content so as to depict temporal process, order or change. Across these essays, the authors explore how twelfth-century writers employed literary techniques (be they rhetorical, allegorical or narratological) with the aim of organizing time or engaging creatively and intellectually with theories of time and eternity. Cover image: Robert Hardy, Engel, 2023, oil on canvas, 20 x 20 cm – https://roberthardyartist.co