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Uttu 2006 ' Distro; Independent fashion moves from margins to mainstream', Inside Indonesia 85 (January-March).
Enki's sexual encounter with Uttu is radically different from those with his other daughters.
(13) Before approaching Uttu's house, Enki assumes the identity of the gardener who had given him the goods he was to bring to Uttu (lines 167-76):
Suffice it to say here that I do not believe it a coincidence that Enki assumes this specific identity when he approaches Uttu. (16) From the text, it is clear that Uttu is eager to meet with her suitor, as shown by her eagerness in opening the door of her house.
Enlil assumes three different personas to seduce Ninlil, whereas Enki dresses up like a gardener when it is time to meet with Uttu. As I noted above, all these are cases of consensual sex.
This may well be a function of the absence from the Hesiodic tale of any notion that Kronos' pregnancy is painful--a central issue in EN, with respect both to Enki himself and also to the last victim of his sexual hunger, his great-great-granddaughter Uttu (EN 186) (42)--and so too the absence of any claim that the delivery of the first generation of Olympian gods is somehow therapeutic, either for Kronos or the world at large.
On Uttu's pain, see Dickson 2007: 18-20 and below, notes 54 and 58.
Uttu, Enki's great-great-granddaughter and the last female victim of his predatory lust (EN 128-95) also cries out--Ah!
In fact, the point of departure for her complaint was Uttu, the goddess of the textile industry, the final one in the previous twelvefold cycle of divine appointments.
According to the central Urali myth, the Mother-Goddess of the Anthill (puttu) was born from the bo:nu 'hole' of an anthill built by white termites (keraga) in Uttu:rde:ca (somewhere in Mysore).
Scenes with animals are less varied and can be divided into three groups: the largest depicting common animals, a smaller group depicting rare animals, and a third group with snakes, birds of prey, lions, and monsters, often in heraldic compositions and "di probabile significato simbolico." Schematic seals combining spider and pig-tailed women and scenes consisting entirely of inanimate objects are considered to be two further categories; surely in the former, which Rova correctly relates to seals representing scenes from daily life, the spider stands for Uttu, the Sumerian spider-goddess of weaving, or her earlier counterpart.
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