"risingly" meaning in English

{
  "etymology_templates": [
    {
      "args": {
        "1": "en",
        "2": "rising",
        "3": "ly"
      },
      "expansion": "rising + -ly",
      "name": "suffix"
    }
  ],
  "etymology_text": "From rising + -ly.",
  "forms": [
    {
      "form": "more risingly",
      "tags": [
        "comparative"
      ]
    },
    {
      "form": "most risingly",
      "tags": [
        "superlative"
      ]
    }
  ],
  "head_templates": [
    {
      "args": {},
      "expansion": "risingly (comparative more risingly, superlative most risingly)",
      "name": "en-adv"
    }
  ],
  "lang": "English",
  "lang_code": "en",
  "pos": "adv",
  "senses": [
    {
      "categories": [
        {
          "kind": "other",
          "name": "English entries with incorrect language header",
          "parents": [
            "Entries with incorrect language header",
            "Entry maintenance"
          ],
          "source": "w"
        },
        {
          "kind": "other",
          "name": "English terms suffixed with -ly",
          "parents": [],
          "source": "w"
        },
        {
          "kind": "other",
          "name": "Pages with 1 entry",
          "parents": [],
          "source": "w"
        },
        {
          "kind": "other",
          "name": "Pages with entries",
          "parents": [],
          "source": "w"
        }
      ],
      "examples": [
        {
          "ref": "1987, Brian Rotman, “King Lear and ‘nothing’”, in Signifying Nothing: The Semiotics of Zero (Language, Discourse, Society), Basingstoke, Hants., London: The Macmillan Press Ltd, →ISBN, section 3 (Nothing: Zero), page 81:",
          "text": "The play was written in a London of bubonic plague, cheap death, religious burnings, torture; a London given over to the deal: the buy/sell transactions of a risingly brutal capitalism dealing in information through spies and informers, flesh through rampantly exploitative prostitution, liberty and freedom through indentures and slavery.",
          "type": "quote"
        },
        {
          "ref": "1987, Malcolm Bradbury, “‘A Dog Engulfed in Sand’: Character and Abstraction in Contemporary Writing and Painting”, in No, Not Bloomsbury, New York, N.Y.: Columbia University Press, published 1988, →ISBN, part 1 (Writer and Critic), section 3, pages 31–32:",
          "text": "Painting was just one, though the most visible, witness to the perceptual change that spread through every form – reflecting not just a risingly confident avant garde, but the new views of consciousness and perception, the new apocalyptic awareness of modernity and universal change, that was brought by an age massing technology, new social conflict, increasing urbanisation, and the growing systematisation of life.",
          "type": "quote"
        },
        {
          "ref": "2020, A[rthur] Robert Lee, “Introduction: 25ᵗʰ Anniversary Edition: Perspective and Memoir”, in Designs of Blackness: Mappings in the Literature and Culture of Afro-America, 25th anniversary edition, New York, N.Y.: Peter Lang, →ISBN, page 8:",
          "text": "An experimental, risingly postmodern, gallery of fiction for which Invisible Man always acted as the beacon, equally made its bow, notably William Demby’s cubist The Catacombs (1965), William Melvin Kelley’s fantasist picture of white suburbia and Harlem, dem (1967), John Wideman’s peregrinatory Hurry Home (1970) and Leon Forrest’s dream-memoir of black Chicago, There Is a Tree More Ancient Than Eden (1973).",
          "type": "quote"
        }
      ],
      "glosses": [
        "In a rising manner."
      ],
      "id": "en-risingly-en-adv-JLej6iTl",
      "links": [
        [
          "rising",
          "rising"
        ]
      ],
      "raw_glosses": [
        "(rare) In a rising manner."
      ],
      "tags": [
        "rare"
      ]
    }
  ],
  "word": "risingly"
}

{
  "etymology_templates": [
    {
      "args": {
        "1": "en",
        "2": "rising",
        "3": "ly"
      },
      "expansion": "rising + -ly",
      "name": "suffix"
    }
  ],
  "etymology_text": "From rising + -ly.",
  "forms": [
    {
      "form": "more risingly",
      "tags": [
        "comparative"
      ]
    },
    {
      "form": "most risingly",
      "tags": [
        "superlative"
      ]
    }
  ],
  "head_templates": [
    {
      "args": {},
      "expansion": "risingly (comparative more risingly, superlative most risingly)",
      "name": "en-adv"
    }
  ],
  "lang": "English",
  "lang_code": "en",
  "pos": "adv",
  "senses": [
    {
      "categories": [
        "English adverbs",
        "English entries with incorrect language header",
        "English lemmas",
        "English terms suffixed with -ly",
        "English terms with quotations",
        "English terms with rare senses",
        "Pages with 1 entry",
        "Pages with entries"
      ],
      "examples": [
        {
          "ref": "1987, Brian Rotman, “King Lear and ‘nothing’”, in Signifying Nothing: The Semiotics of Zero (Language, Discourse, Society), Basingstoke, Hants., London: The Macmillan Press Ltd, →ISBN, section 3 (Nothing: Zero), page 81:",
          "text": "The play was written in a London of bubonic plague, cheap death, religious burnings, torture; a London given over to the deal: the buy/sell transactions of a risingly brutal capitalism dealing in information through spies and informers, flesh through rampantly exploitative prostitution, liberty and freedom through indentures and slavery.",
          "type": "quote"
        },
        {
          "ref": "1987, Malcolm Bradbury, “‘A Dog Engulfed in Sand’: Character and Abstraction in Contemporary Writing and Painting”, in No, Not Bloomsbury, New York, N.Y.: Columbia University Press, published 1988, →ISBN, part 1 (Writer and Critic), section 3, pages 31–32:",
          "text": "Painting was just one, though the most visible, witness to the perceptual change that spread through every form – reflecting not just a risingly confident avant garde, but the new views of consciousness and perception, the new apocalyptic awareness of modernity and universal change, that was brought by an age massing technology, new social conflict, increasing urbanisation, and the growing systematisation of life.",
          "type": "quote"
        },
        {
          "ref": "2020, A[rthur] Robert Lee, “Introduction: 25ᵗʰ Anniversary Edition: Perspective and Memoir”, in Designs of Blackness: Mappings in the Literature and Culture of Afro-America, 25th anniversary edition, New York, N.Y.: Peter Lang, →ISBN, page 8:",
          "text": "An experimental, risingly postmodern, gallery of fiction for which Invisible Man always acted as the beacon, equally made its bow, notably William Demby’s cubist The Catacombs (1965), William Melvin Kelley’s fantasist picture of white suburbia and Harlem, dem (1967), John Wideman’s peregrinatory Hurry Home (1970) and Leon Forrest’s dream-memoir of black Chicago, There Is a Tree More Ancient Than Eden (1973).",
          "type": "quote"
        }
      ],
      "glosses": [
        "In a rising manner."
      ],
      "links": [
        [
          "rising",
          "rising"
        ]
      ],
      "raw_glosses": [
        "(rare) In a rising manner."
      ],
      "tags": [
        "rare"
      ]
    }
  ],
  "word": "risingly"
}