Abstract

This paper studies the language of contractility in Burke's Enquiry, showing it to be closely related to types of heterodox medicine including the work of his father-in-law Christopher Nugent. Extensive connections are located between these medical ideas and questions of social and professional identity, including their visual aspects in contemporary portraiture. This essay finally examines the crucial significance of contractility as the discursive template upon which Burke's aesthetic ideas were modelled, and, accordingly, offers a new genealogy and a new definition of the concept of the sublime as a radical ideal of extreme oppositions with important literary, epistemological and political implications.