The purpose of this study is to read three texts on the sublime in terms of male ideology and to uncover the ways aesthetic discourses work to construct discriminating values and customs of gender in each society. The Greek text by Longinus did the leading role in gendering the sublime as masculine with its "tumescent metaphors" like "uplift[ing]," "exaltation," and "vaunting." By focusing on the distortion involved in his homogenizing understanding of Sappho and Homer as good examples of the masculine sublime I discuss how Longinus employs a violence of unity to establish the sublime as the only masculine norm of art to the exclusion of its feminine mode. It was Burke who founded the misogynist dichotomy of the sublime and the beautiful on the basis of commonly held preconceptions about the innateness and universality of sexual difference. I read a cluster of binary oppositions Burke assembles to ensure the masculine superiority of the sublime and find out instead the logical leap by which a self-professed `philosophical enquiry` and common prejudices interact to naturalize each other. What calls special attention in the Burkean text is that the beautiful is not only opposed but also objectified as a ground on which the sublime can exert its importance as a cure of the evils caused by the former. Thus we witness here the structural fixation of feminine inferiority. Though not so avowedly as Burke, Kant produces another male-centered discourse of the sublime. According to him, while the beautiful consists in the form of the object, the sublime is to be found in an object devoid of form with a hint of limitlessness converging to totality. Only reason, the faculty of mind transcending the standard of sense, ensures the sublime moment in so far as imagination fails to understand the total magnitude of sensual things. Kant means that the inability of the imagination to attain to the Absolute Idea awakens a feeling of a supersensible faculty within us. This so-called "gender specific scapegoating mechanism" is even worsened when Kant presupposes the voluntary act of the imagination to deprive itself of its freedom and so embellishes its sacrifice, which became the romantic strategy of appropriation. By comparing the texts, we see how the aesthetic discourses on the sublime functioned to subjugate the feminine otherness in different ways, but for the same cause.