This article analyses Damon Galgut’s 2008 novel, The Impostor, in light of recent critiques which argue that South African writing is beset by “repetition compulsions” (Boehmer 2018: 90) that betray the nation’s sublimated traumas and unhealable wounds. It argues that Galgut’s novel does not simply rehearse the tropes of South Africa’s literature of crisis, but rather subjects them to extended metafictional and ironic critique. Among the targets of Galgut’s satire is the state of petrified suspension that regualrly marks the white post-apartheid condition and which is undergirded, he shows, by a residual archive of pastoral and colonial scripts. These scripts make the realisation of what Paul Gilroy has called a “new cosmopolitanism” (2005: 287) in South Africa impossible, but they can be dispelled, the novel suggests, by cultivating modes of ironic self-awareness in which we come to understand our alterity as the very enabling condition of forming a life with others.

中文翻译：

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新世界主义的（不）可能性？达蒙·加尔古特对《冒名顶替者》中残余文化脚本的批判

本文分析了达蒙·加尔古特 (Damon Galgut) 2008 年的小说《冒名顶替者》(The Impostor)，鉴于最近的批评认为南非的写作受到“重复强迫症”(Boehmer 2018: 90) 的困扰，这种冲动背叛了国家升华的创伤和无法治愈的伤口。它认为，加尔古特的小说并没有简单地排练南非危机文学的比喻，而是使它们受到扩展的元小说和讽刺批评。加尔古特讽刺的目标之一是石化的悬浮状态，它通常标志着白人后种族隔离的状况，他表示，这是由田园和殖民文字的残余档案支撑的。这些剧本使得保罗吉尔罗伊在南非不可能实现所谓的“新世界主义”（2005：287），但它们可以被驱散，小说暗示，