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Siri Hustvedt

Hustvedt was born in Northfield, Minnesota. Her father Lloyd Hustvedt was a professor of Scandinavian literature, and her mother Ester Vegan emigrated from Norway at the age of thirty. She holds a B.A. in history from St. Olaf College and a Ph.D. in English from Columbia University; her thesis on Charles Dickens was entitled Figures of Dust: A Reading of Our Mutual Friend.Hustvedt has mainly made her name as a novelist, but she has also produced a book of poetry, and has had short stories and essays on various subjects published in (among others) The Art of the Essay, 1999, The Best American Short Stories 1990 and 1991, The Paris Review, Yale Review, and Modern Painters.Like her husband Paul Auster, Hustvedt employs a use of repetitive themes or symbols throughout her work. Most notably the use of certain types of voyeurism, often linking objects of the dead to characters who are relative strangers to the deceased characters (most notable in various facits in her novels The Blindfold and The Enchantment of Lily Dahl) and the exploration of identity. She has also written essays on art history and theory (see "Essay collections") and painting and painters often appear in her fiction, most notably, perhaps, in her novel, What I Loved.She lives in Brooklyn, New York, with her husband, the writer Paul Auster, and their daughter, singer and actress Sophie Auster.

Citater

302 Rizvi Khadijahar citeretsidste år
German word Einfühlung was first introduced by Robert Vischer in 1873 as an aesthetic term, a way of feeling oneself into a work of art, a word that through various historical convolutions would become “empathy” in English. Contemporary neurobiological research on emotion is attempting to parse the complex affective processes at work in visual perception. As Mariann Weierich and Lisa Feldman Barrett write in “Affect as a Source of Visual Attention,” “People don’t come to know the world exclusively through their senses; rather, their affective states influence the processing of sensory stimulation from the very moment an object is encountered.”
302 Rizvi Khadijahar citeretsidste år
I have long argued that the experience of art is made only in the encounter between spectator and art object. The perceptual experience of art is literally embodied by and in the viewer. We are not the passive recipients of some factual external reality but rather actively creating what we see through the established patterns of the past, learned patterns so automatic they have become unconscious.
302 Rizvi Khadijahar citeretsidste år
This fury belongs especially to women making art, art of all kinds, because women artists are put into boxes that are hard to climb out of. The box is labeled “woman’s art.” When was the last time you heard anyone talk about a man artist, a man novelist, a man composer? The man is the norm, the rule, the universal. The white man’s box is the whole world. Louise Bourgeois was an artist who made art. “We are all male-female.” All great art is male-female.
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