Resumen: This dissertation analyzes the progressive de-valuation of the feminine from tragicomedy to political prose to philosophy. I first examine Fernando de Rojas' La Celestina and Thomas Middleton's Women Beware Women, tragicomedies in which patriarchal authority is initially undermined through the subversion of codes (narrative, prayer, virginity,) and forms of exchange (money and marriage) normally used to maintain order within the family and community. It is my position that the genre of drama (and fiction, generally speaking) allows for a temporary dislocation of order through the controlled exercise of feminine subjectivity, an accommodation that philosophy will not allow. In the chapter on La Celestina, I draw from New World Inquisitorial materials to demonstrate linguistic continuities in the types of subversion practiced by sorceresses, and also to show what form their punishments took. I maintain that once outside the purposively unstable domain of fiction, that is, once the trajectory from drama to traditional philosophy is complete, there can be no feminine subversion but instead, the feminine will perforce be entirely circumscribed and indeed, transcended. In the second part of my dissertation, I analyze the way in which John Milton--poised between literature and philosophy--urges a two-tiered political divorce from the feminine in his Divorce Tracts. He attempts to generate an aversion to the feminine such that his male readers will find sexual or social identification with the feminine intolerable from a political point of view. He identifies marriage with the loss of personal and political power, for the indissolubility of marriage, as he sees it, effeminates man by robbing him of control over his destiny. This elevation and absolute hierarchization of the masculine over the feminine is then examined in the German philosopher Immanuel Kant. The latter takes the sentimentalized feminine and the civilized masculine (the beautiful and the sublime, respectively), as natural and also transcendent philosophical categories as models for further hierarchizing projects that entail artistic and political agendas structured on this purportedly irreducible arch-division between the sexes.