ABSTRACT

This article examines polyphony and open form as key concepts connecting literary theory and urban planning. It focuses on Peter Holvoet-Hanssen’s Quay Poem, an in-situ poem painted in 2011 on the floodwalls of the Antwerp quays during Holvoet-Hanssen’s tenure as city poet. The long poem in public space provides important insights into how literary city texts and the discourses of urban development draw ultimately on similar narrative structures, in close dialogue with past layers of urban meaning and in the shadow of future material transformations. The poem gestures also to insights planning can gain from literary forms of storytelling, in particular in the way Holvoet-Hanssen’s poem produces a remarkable openness of form; in the way it articulates a radical variety of different voices; and in the way it continues to speak after the text itself has disappeared from the public built environment.

摘要

本文将复调和开放形式视为连接文学理论和城市规划的关键概念。它着重于彼得·霍尔沃特-汉森 (Peter Holvoet-Hanssen) 的《码头诗》(Quay Poem)，这是 2011 年在霍尔沃特-汉森 (Holvoet-Hanssen) 担任城市诗人期间在安特卫普码头的防洪墙上创作的一首原地诗歌。公共空间中的长诗为文学城市文本和城市发展话语最终如何借鉴相似的叙事结构，与过去的城市意义层和未来物质转型的阴影密切对话提供了重要的见解。这首诗还暗示了计划可以从文学形式的讲故事中获得的洞察力，特别是在霍尔沃特-汉森的诗中产生了一种非凡的形式开放性；以它表达各种不同声音的方式；