Abstract:Constantine Cavafy, who identified as “Hellenic” but lived in Egypt, never published a commercial book. Instead, he circulated hundreds of copies of a dozen different hand-made editions whose assemblage was radically fluid: they utilized multiple bindings, drew together multiple media, experimented with alternative orderings of the poems, and shifted through multiple imprints and revisions within each copy of each edition. This fluidity continued without any aim of final consolidation until Cavafy’s death. Only thirty years later, in the early 1960s, did the philologist George Savidis publish what we now call the complete edition, yet it stands as a false witness to the nature of Cavafy’s own editions. Through a combination of close reading, analytical bibliography, and historical contextualization, the present paper argues that Cavafy’s books functioned not as closed objects but open-ended assemblages, suspending consolidation and extending composition indefinitely. This suspension and extension occurred even as the books circulated. This last point is crucial, for in this way Cavafy’s assemblages subtly invited other agents, such as printers, binders, and readers, to join the process of creation and revision. Their agencies have remained unexplored by Cavafy scholarship, where the figure of the author looms large.

中文翻译：

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需要一些组装：用 Cavafy 的收藏品暂停和扩展这本书

摘要：康斯坦丁·卡瓦菲（Constantine Cavafy），自称“希腊人”但居住在埃及，从未出版过商业书籍。相反，他分发了数百份不同的手工版本，这些版本的组合极其流畅：它们使用多种装订方式，将多种媒体组合在一起，尝试对诗歌进行不同的排序，并在每个副本中进行多次印记和修订。每个版本。这种流动性一直持续到 Cavafy 去世，但没有任何最终巩固的目的。仅仅三十年后，在 1960 年代初期，语言学家乔治·萨维迪斯（George Savidis）才出版了我们现在所说的完整版，但它却是对 Cavafy 自己版本本质的虚假见证。通过仔细阅读、分析书目和历史背景化的结合，本论文认为，卡瓦菲的书不是封闭的对象，而是开放式的组合，无限期地暂停整合和扩展构图。即使在书籍流通时，这种暂停和延期也发生了。最后一点至关重要，因为通过这种方式，Cavafy 的组合巧妙地邀请了其他代理人，如打印机、装订工和读者，加入创作和修订过程。他们的机构仍未被 Cavafy 奖学金所探索，作者的身影在那里隐约可见。加入创作和修订的过程。他们的机构仍未被 Cavafy 奖学金所探索，作者的身影在那里隐约可见。加入创作和修订的过程。他们的机构仍未被 Cavafy 奖学金所探索，作者的身影在那里隐约可见。