Transatlanticism (culture)

Transatlanticism is an aspect of the relationship of British and American culture explored by some writers in American literature and British literature. Although the academic discipline of transatlantic studies is a critical framework originating the 2000s, it has been argued that transatlanticism itself is in itself a very old phenomenon, and that transatlanticism shows the tension in nineteenth-century America between emphasizing the British dimensions of American culture and asserting the independence of American culture.^[1] Within this area of literary studies is depiction of "white America's status as both colonial subject and colonial power".^[2]

Examples of translatlanticism among authors include 19th Century American writers such as Hannah Crafts who treats both American and British variants of the injustice of slavery in The Bondwoman's Narrative.^[3] As well as 20th Century authors such as Sylvia Plath for whom it has been seen as the "negotiation of American and European identities in conflict".^[4] as well as cross-national poets such as T.S. Eliot^[5]

Transatlanticism in literature and culture should be distinguished from transatlanticism in international relations and politics.^[6]

References

^ Julia Straub Handbook of Transatlantic North American Studies 2016 3110376733 p59 "Yet Paul Giles contends, “Transatlanticism [...] is in itself a very old phenomenon,” highlighting the tension in nineteenth-century America between “emphasiz[ing] British dimensions of American culture” and asserting an independent American one (2013, 15). This “old phenomenon” has also seeped into the modern consciousness: American indie band Death Cab for Cutie's 2003 album Transatlanticism and song by the same name about the difficulties of long-distance love function ...
^ Jennifer Camden Secondary Heroines in Nineteenth-Century British and American Novels 1409475743 2013 "Alternatively, transatlanticism is comparative and reflective, according to Paul Giles and Susan Manning; or a one-way transmission of cultural imperialism, as we see in Robert Weisbuch. Central to these understandings of "the transatlantic" is white America's status as both colonial subject and colonial power. "
^ Bridget M. Marshall The Transatlantic Gothic Novel and the Law, 1790–1860 1409476324 - 2013 p.151 "... "is not confined to any one place, or country, or condition" (200). While Crafts's novel clearly indicts American slavery, it is also a more general condemnation of systems that the Gothic - in both its American and British versions - has repeatedly critiqued. Crafts's novel, like the Gothic, engages in a transatlantic discourse that absorbs readers in complicated questions about the foundations of human justice. The importance of transatlanticism is nowhere more apparent than in the study of the slave trade and the legal..."
^ Jo Gill The Cambridge Introduction to Sylvia Plath 1139474138 - 2008 p.127 "Like Nelson and Curry, Brain offers a reading of 'Cut' which attends to its historical and ideological significations, specifically as they expose Plath's negotiation of American and European identities in conflict.54 For Giles, Plath's transatlanticism is best read within the specific context of the 1950s. In these terms, transatlantic exile is an existential and an aesthetic strategy. Giles traces the ways in which national identities are mutually constitutive and mutually sustaining and, in Plath's ...
^ Jahan Ramazani A Transnational Poetics- p. ix 0226703371 2015 But Eliot, whose transatlanticism is hardly a surprise, and a variety of other poets, whose cross-nationality is less frequently considered, brought this sensible institutional practice into collision with the transnationalism of modern and contemporary poetry in English. Should Eliot and his writing be tagged “American” since he grew up in the United States and wrote “Prufrock” and “Preludes” there? Or “Brit. (Am.-born) poet and critic,” as Webster's puts it, s...\3
^ Laurie Buonanno, Natalia Cuglesan, Keith Henderson The New and Changing Transatlanticism: Politics and Policy Perspectives 113626647X 2015 "Fora and Agreements - What is sometimes referred to as “The New Transatlanticism” is legally based on post-Cold War agreements, in particular the TAD (1990), the NTA (1994), and subsequent overarching agreements focusing on the economic partnership, particularly the now defunct Transatlantic Economic Partnership (TEP; 1998), and the TEC (2007)."

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[1] Julia Straub Handbook of Transatlantic North American Studies 2016 3110376733 p59 "Yet Paul Giles contends, “Transatlanticism [...] is in itself a very old phenomenon,” highlighting the tension in nineteenth-century America between “emphasiz[ing] British dimensions of American culture” and asserting an independent American one (2013, 15). This “old phenomenon” has also seeped into the modern consciousness: American indie band Death Cab for Cutie's 2003 album Transatlanticism and song by the same name about the difficulties of long-distance love function ...

[2] Jennifer Camden Secondary Heroines in Nineteenth-Century British and American Novels 1409475743 2013 "Alternatively, transatlanticism is comparative and reflective, according to Paul Giles and Susan Manning; or a one-way transmission of cultural imperialism, as we see in Robert Weisbuch. Central to these understandings of "the transatlantic" is white America's status as both colonial subject and colonial power. "

[3] Bridget M. Marshall The Transatlantic Gothic Novel and the Law, 1790–1860 1409476324 - 2013 p.151 "... "is not confined to any one place, or country, or condition" (200). While Crafts's novel clearly indicts American slavery, it is also a more general condemnation of systems that the Gothic - in both its American and British versions - has repeatedly critiqued. Crafts's novel, like the Gothic, engages in a transatlantic discourse that absorbs readers in complicated questions about the foundations of human justice. The importance of transatlanticism is nowhere more apparent than in the study of the slave trade and the legal..."

[4] Jo Gill The Cambridge Introduction to Sylvia Plath 1139474138 - 2008 p.127 "Like Nelson and Curry, Brain offers a reading of 'Cut' which attends to its historical and ideological significations, specifically as they expose Plath's negotiation of American and European identities in conflict.54 For Giles, Plath's transatlanticism is best read within the specific context of the 1950s. In these terms, transatlantic exile is an existential and an aesthetic strategy. Giles traces the ways in which national identities are mutually constitutive and mutually sustaining and, in Plath's ...

[5] Jahan Ramazani A Transnational Poetics- p. ix 0226703371 2015 But Eliot, whose transatlanticism is hardly a surprise, and a variety of other poets, whose cross-nationality is less frequently considered, brought this sensible institutional practice into collision with the transnationalism of modern and contemporary poetry in English. Should Eliot and his writing be tagged “American” since he grew up in the United States and wrote “Prufrock” and “Preludes” there? Or “Brit. (Am.-born) poet and critic,” as Webster's puts it, s...\3

[6] Laurie Buonanno, Natalia Cuglesan, Keith Henderson The New and Changing Transatlanticism: Politics and Policy Perspectives 113626647X 2015 "Fora and Agreements - What is sometimes referred to as “The New Transatlanticism” is legally based on post-Cold War agreements, in particular the TAD (1990), the NTA (1994), and subsequent overarching agreements focusing on the economic partnership, particularly the now defunct Transatlantic Economic Partnership (TEP; 1998), and the TEC (2007)."

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