This thesis carries out an analysis of social pressure and the alienation of women in Angela Carter&rsquo / s The Magic Toyshop and Jeanette Winterson&rsquo / s Oranges Are Not the Only Fruit. It discusses the effect of social pressure on woman whose sexuality is ignored. This study initially focuses on the development of woman&rsquo / s sexuality in relation to the female model described by heterosexual hegemony. It aims at taking a closer look at the alienation of conformist and non-conformist female characters under patriarchal force in Carter&rsquo / s and Winterson&rsquo / s works. In relation to women&rsquo / s sexual identity, the thesis examines gender roles in the particular works. It discusses how women under patriarchal oppression are identified with passive female roles while men are associated with superior male roles. Thus this study iterates how women are alienated as a result of patriarchal gendering. With this aim, it questions the ways to destroy the patriarchal oppression for Carter and Winterson.

This work adopts a feminist perspective to analyse and compare the patriarchal oppression and objectification of humans and robots in the Foundation universe. It analyses the relationships between males and females, between humans from different social and cultural backgrounds, and between humans and robots. The study attempts to capture changes that span a long period and multiple locations, exploring how those changes are triggered by different forms of patriarchal oppression and objectification. This essay concludes that various forms of patriarchal oppression and objectification exist in the beginning but start slowly disintegrating as humanity, guided by robots, move towards a greater goal of establishing a better society.

Fairy tales are usually described as short narratives that end with happily-ever-afters, imposing patriarchal ideologies. The Grimm’s fairy tales serve as the foundation of many other stories which promote stereotypes like woman passiveness, submissive beauty, while men are put on a pedestal for being active and violent at the same time. Angela Carter’s collection The Bloody Chamber depicts patriarchal oppression in classic fairy tales by challenging what can be identified as patriarchal binary oppositions with a strategic subversion of gender roles. Through problematizing and critiquing the patriarchal fairy tales, Carter’s texts can be read through the lens of écriture féminine. Following Hélène Cixous’s notion of écriture féminine, outlined in “The Laugh of the Medusa”, this essay explores how Carter’s  “The Lady of the House of Love'' can be read as a narrative that has strong echoes of the kind of female writing Cixous advocates. Moreover, this essay argues that  “The Lady of the House of Love” contradicts the Western myth of femininity by resisting, exploring, even undermining the patriarchal representation of woman as “heroine”-the fairy tale princess who needs a man to save her -and “femme fatale.”