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In her second chapter, "'Representing by Means of Scenes': Translating Voices," Davison focuses on how Woolf, Mansfield, and Koteliansky see translation as "a theatricalisation or multiplication of borrowed voices" (52), which she considers a product of the changing environment in which modernism is born, citing the "unprecedented clamour of voices" engendered by radio broadcasting, the battle for women's suffrage, representative democracy, and the beginnings of experimental psychology (55).
By 'pursuing the artificial and the theatricalisation of experience' Strachey implied that there was nothing inevitable about forms of Victorian eminence, but rather that they had happened to grow into exotic and extraordinary forms.
The theatricalisation of the lawful and unlawful noted by the Comarroffs and seen both in the TRC process, and in the way Doggy Dog's crime was interpreted inside and outside prison, suggest that in post-apartheid South Africa, power functions not only in the panoptic manner proposed by Foucault, (3) but also by way of dramatisation through stories.