In the past women were able to resort to crisis heterotopias, places suitable for re-examining femininity as an object of desire and for fashioning new forms of subjectivity. Are there such places today, when women are generally considered to be emancipated and seem to have unrestricted access to all kinds of 'places of their own'? This article explores the psychoanalytic and genealogical conditions necessary for fashioning new forms of subjectivity where women find themselves in a heterotopic place. It brings together the Foucauldian notion of the heterotopia -both as linguistic locus and material place -and the psychoanalytic notions of the traversal of the fantasy and the drive, emphasising the ways in which women produce new subjectivities via the exploration of their identity.

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In a recent article in Sociology, Diane Richardson contends that rather than focusing on theorizing the specific relationship between sexuality and gender, researchers should focus on developing frameworks that capture the complex and dynamic nature of that relationship. Towards that end, Richardson proposes ‘patterned fluidities’ as a working metaphor for feminine sexuality. This article explores the potential of the metaphor as a focal point for bringing together different strands of feminist thought on heterosexuality. It discusses if and how ‘patterned fluidities’ are supported by empirical evidence and how they interact with areas of thought that do not fall within the scope of Richardson’s article, namely feminist views on postmodernity. Three contemporary Greek novels are used as examples.

The paper examines Stiegler' use of psychoanalytic concepts, focusing on how the proletarianised or blissfully numb mind may begin to work its way towards 'a life worth living'. The emphasis is on the process rather than the final outcome. Winnicott's concept of relationality and Lacan's concept of time in analysis can be aligned to the concept of pharmakon. Stiegler's autobiographical account How I Became a Philosopher (2009) and the initially 'stupid' hero of the Lego Movie (2014) are used as examples.