unsublimated

unsublimated

(ʌnˈsʌblɪˌmeɪtɪd)
adj
not sublimated
Collins English Dictionary – Complete and Unabridged, 12th Edition 2014 © HarperCollins Publishers 1991, 1994, 1998, 2000, 2003, 2006, 2007, 2009, 2011, 2014
References in periodicals archive ?
embodies (in psychological terms) neither unsublimated nor regressive libido, but intellectual pleasure in regression--amor intellectualis diaboli, the pleasure of attacking civilization with its own weapons.
And a lot of the Daoist alchemical literature talks about the world-destroying, corruptive characteristics of unrefined, unsublimated desire, which they termed minor yin and yang, in opposition to the world-creating, nurturing, fecundating power of refined, sublimated desire, which they termed major yin and yang.
By constantly exhibiting the object of desire [...] it merely goads the unsublimated anticipation of pleasure, which through the habit of denial has long since been mutilated as masochism" (111).
'Smell and taste give, as it were, unsublimated pleasure per se'.
Stapleton stresses the unsublimated, Ovidian desires that structure the Amoretti (271-99).
But, as Giovanni informs Annabella, the exchange economy that underpins Petrarchan discourse is inescapable in its unsublimated form: 'I shall lose you, sweetheart' he tells her, for 'You must be married' (2.1.21, 23).
Unsublimated, or unrepressed, sexuality is the ingredient of "underdevelopment" and a threat to "civilized development" (Thomas 2010: 155).
For this condition--a transitional one for Lear, the final one for Goriot--a principal figure is androgyny, the unsublimated original for Balzac's vision of the unity of life:
"Terror Unsublimated: Militant Monks, Revolution, and Tolstoy's Final Master Plots." Tolstoy Studies Journal 22 (2010): 17-38.
(8) He claims "intriguingly, if rudely" in Keller's reading the gospels unsublimated agape--as originally identical with Eros--for his hope.
For example, if the difference between the eyes of Wieder and the eyes of Schulz is conceptualized as being internal to Schulz by juxtaposing the unsublimated death drive with literary creativity (much in the same way as the narrator does when he imagines these individuals looking at him at the same time) in a first approximation in which "the opposites are not reconciled in 'higher synthesis'--rather, their difference is posited 'as such'" (Parallax View 299), then the difference between Schulz (a writer) or Wieder (a serial killer who is a writer) and Chernyakhovsky can be recast as the dialectical conversion of a particular into a universal.