Abstract A pair of naked giants, male and female, gazing toward the congregation, flank the apse of St. Jakob in Kastelaz (c.1215) in Tramin, South Tyrol. This article argues that, rather than portraying specific giants from a particular text, the mural figures embody the notion of “the gigantic” as it appears in contemporary medieval epics, romances, and travel literature. As such, they confront viewers with a variety of geographies and temporalities of salvation, connecting the Flood and its redemptive implications to a broad spectrum of mythical times, sacred history, and cosmology, as well as to a wide range of locations across the globe, both near and far. Amid this rich cultural web, the giants in the frescoes offer their viewers two types of pictorial vision: a false one, represented by the hybrids struggling in the obliterating deluge; and a true vision of the Majestas Domini and the Apostles, attainable by humanity alone.

中文翻译：

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“ einrise starc undegrôz”：卡斯特拉兹圣雅各布的救世地理和时间

摘要一对男女裸露的巨人，凝视会众，位于南蒂罗尔州特拉明的卡斯特拉兹（1215年）的圣雅各布后殿。本文认为，壁画人物并没有刻画特定文本中的特定巨人，而是体现了“巨大”的概念，因为它出现在当代中世纪史诗，浪漫史和旅行文学中。因此，他们面对着各种各样的救赎地理和时空，将洪水及其救赎意义与广泛的神话时代，神圣的历史和宇宙学以及全球范围的各个地点联系起来，无论远近。在这个丰富的文化网络中，壁画中的巨人为观看者提供了两种类型的图像视觉效果：一种虚假的图像，其代表是那些在del灭性洪水中挣扎的杂种。