ouranian

comparative more ouranian · superlative most ouranian

1. Alternative letter-case form of Ouranian.

   Conversely, Kenneth Anger's only widely released film since 1972, Lucifer Rising (1980), uses a megalithic temple (not Stonehenge) and a number of ancient Egyptian sites in a Crowleyan ritual hymn to chthonian and ouranian deities of power and light.

   2002, P. Adams Sitney, “The End of the 20th Century”, in Visionary Film: The American Avant-Garde 1943–2000, 3rd edition, Oxford, Oxfordshire: Oxford University Press, →ISBN, page 417

   1 more example

   If he [the Hindu god Varuna] cannot be classed exclusively among the "gods of the sky" he nevertheless has qualities proper to the ouranian divinities. He is visva-darsata, "everywhere visible", he "separated the two worlds", the wind is his breath; [...]

   1991, Mircea Eliade, “The ‘God who Binds’ and the Symbolism of Knots”, in Philip Mairet, transl., Images and Symbols: Studies in Religious Symbolism, Mythos paperback edition, Princeton, N.J.: Princeton University Press, →ISBN, pages 96–97

comparative more Ouranian · superlative most Ouranian · alternative ouranian

1. alternativeAlternative spelling of Uranian.

   At first sight the winds would appear to be if anything Ouranian powers of the upper air, yet it seems that sacrifices to the winds were buried, not burnt.

   1903, Jane Ellen Harrison, “The Anthesteria. The Ritual of Ghosts and Spirits.”, in Prolegomena to the Study of Greek Religion, Cambridge, Cambridgeshire: At the University Press, →OCLC, page 67

   2 more examples

   If he [the Hindu god Varuna] cannot be classed exclusively among the "gods of the sky" he nevertheless has qualities proper to the ouranian divinities. He is visva-darsata, "everywhere visible", he "separated the two worlds", the wind is his breath; [...]

   1991, Mircea Eliade, “The ‘God who Binds’ and the Symbolism of Knots”, in Philip Mairet, transl., Images and Symbols: Studies in Religious Symbolism, Mythos paperback edition, Princeton, N.J.: Princeton University Press, →ISBN, pages 96–97

   Conversely, Kenneth Anger's only widely released film since 1972, Lucifer Rising (1980), uses a megalithic temple (not Stonehenge) and a number of ancient Egyptian sites in a Crowleyan ritual hymn to chthonian and ouranian deities of power and light.

   2002, P. Adams Sitney, “The End of the 20th Century”, in Visionary Film: The American Avant-Garde 1943–2000, 3rd edition, Oxford, Oxfordshire: Oxford University Press, →ISBN, page 417