Amaphuzu ephucwe wona i-Ajax ayishovele kwiNational First Division (NFD) kwathi iPlatinum Stars okuyiyona ebibambe ibhuleki yadlala imidlalo yokuhlunga lapho ihluleke khona yancama. Ukulahlwa yicala kwePSL kusho ukuthi kwayona leyo midlalo yokuhlunga, ewinwe yiBlack Leopards, ifana nento engekho. IZINKAMPANI zezimoto zisine zadedelana embukisweni iBeijing Auto Show, ephothulwa namhlanje eChina. Kwesinye isikhathi ngike ngizibuze ukuthi ngabe ukona kwethu yini lokhu okwenza ukuba sigubezelwe izozonke lezizinkinga emhlabeni. dc.description.abstract There has been considerable debate amongst feminist scholars as to whether the normalization of cosmetic surgery positively impacts women, empowers women by promoting agency and choice (Gimlin 2002, Kuczynski 2006), or oppresses women by propagating patriarchal ideologies that confine women’s bodies and consequently inhibit their voice (Blum 2003, Blood 2005, Heinricy 2006, Clarke and Griffin 2007, Tait, 2007). Rather than entering this debate my argument proceeds from a premise that the normalization of cosmetic surgery is a form of implicit and exclusive violence. Using a selection of post‐structuralist, feminist, and psychoanalytic theories, I analyze the manner in which this form of violence confines women’s bodies and structures the psyche. Using Jacques Lacan, Judith Butler, and Michel Foucault’s argument on pastoral power, I deconstruct the formation of the normalized self, the conscience, and the act of confession as it translates in the context of the cosmetic surgical body itself. Furthermore, I highlight liberal feminism’s role in this form of oppression. In so doing, I theoretically show the continual and effective functioning of pastoral power in the context of an individualization technique that oppresses women in the second decade of the twenty‐first century. I argue that the normalization of cosmetic surgery provokes a silencing of woman’s voices, an exploitation and oppression of the individual’s psyche, and an invalidation of the living body by a less visible, less explicit, mode of incarceration that is concealed by an aesthetic and moral veil. It is in this context that I present a counter discourse to the oppression that underlies the normalizing discourses promoted by the cosmetic surgical industry, a destabilization of patriarchal norms embedded within cosmetic surgical discourses, and a theoretical reconstruction that involves an inscription of what I refer to as an authentic feminist voice in contemporary consumer culture – a mode of intimate unconscious insurgence. I advocate a return to Julia Kristeva’s theory and the intimate revolt promoted by her ethical approach. Furthermore, I present a voice that demonstrates an intimate revolt – a voice that challenges patriarchal norms and is not exclusively confined by the mechanisms of normalization that shape the twenty‐first century woman with emphasis on the cosmetic surgical industry and its superincumbent discourses – the South African poet Antjie Krog. It is Krog’s skillfully structured poetic texts that facilitate my theoretical reconstruction. Applying Kristeva’s theory on semanalysis, I theoretically show that Krog’s work fabricates an excess to the confines of the law of the Father and the mechanisms of normalization itself. In addition, I present an “originary attachment” as an adaption of Kristeva’s argument on the chora and my proposal of an “originary ideal” challenges Kristeva’s emphasis on phonetic grams in the context of that which underlies the realm of the paternal metaphor. Using Louise Viljoen’s analysis of Krog’s work and Bridget Garnham’s research on emerging designer cosmetic surgical discourses as support, I then present Krog’s poetic texts as a counter discourse to the “moral” cosmetic surgical discourses that exploit the ageing individual in the second decade of the twenty‐first century. In addition, applying Kristeva’s theory on paragrams to Krog’s poetic text(s), I present a destabilization of the patriarchal norms implicit within cosmetic surgical discourses. Furthermore, I extend Kristeva’s theory on the principle of negativity to present a re‐translation of the act‐of‐confession in Krog’s poetic text(s), an extension of Foucault’s pastoral power and Butler’s argument on the exclusivity of normalization, and a reclamation of her ageing body in Verweersrkrif/Body Bereft (Krog 2006). en