201 between sexes, classes, races, and nationalities, to “find a common language”; but she takes the “dream” a step further-hers is a poetry of myth that finds the universal in the particular. Each Mother a daughter, Each daughter a potential Mother. (Rita Dove,) Chapter v conclusion Cosmopolitanism is an emerging trend in the social theory and reflects both as an object of study and as a unique methodological approach to the social world. It deviates from the normative political and moral accounts of cosmopolitanism as a world polity or as a universalisti culture, It imbibes the conception of cosmopolitanism which202 is socially comprised and acts as a part of the self- establishing constituting of the social world itself. The idea of cosmopolitanism is the most recognizable term of political governance, but with the history that extends to the Enlightenment and to the classical antiquity. Until recently, it was not associated with the social processes. With the separation of the social and the political scenario that has been a feature of much modern thought, cosmopolitanism has on the whole been perceived as part of the political concept. Although the origin of cosmopolitanism lies in an essentially moral view of the individuals having allegiances to the wider world, it was to acquire a political significance when once it is linked with the society. The findings of this thesis highlights Dove's deflection from the African American themes of “black separatism” and “black purism” to Cosmopolitanism, universal themes of womanhood, friendship, love, music, dance, childhood nostalgia, marriage, separation, nature, beauty, natural ecstasies, and art.Rita Dove attorns the importance of “blackness,” but she never Settle by203 concessionon her treatment of themes to narrow down her poetic explorations within the confines of “blackness” which becomes a hindrance to bringing diverse aspects and themes into her verse. Many of her poems reflect the experience she gained in Germany, and during her travel in Western countries, which have little to do with the specificity of black experience. As a poet, Dove is an individualist, and a traditionalist, both in terms of her content and form. Ekarerini Georgoudaki in his essay reviews the first four of Rita Dove’s books of poetry, she identifies the concerns and ‘dilemmas”, Rita Dove deals with, placing her along a historical continuum of ‘previous Afro-American women poets. “They are: ..feelings of displacement, fragmentation, and isolation, and the distate .For conventional stereotypes, hierarchies, division and boundaries; ..[the]Search for wholeness, balance, connection, continuity, reconciliation with the self and the world, as well as efforts to redefine the self and history, and to renew cultural values. (419)204 The concept of cosmopolitanism is a succinct and lucid overview of Rita Dove’s work in volumes considered in this study. Tt is also an apt description of the position from which all American poets write, Rita Dove would say, “and 1 would agree”. After all, Rita Dove sets the experience of ‘Difference in the crowd. The loneliness of wisdom among fools’ is not just a black racial experience but the writer’s experience in the crowd/ the loneliness of wisdom among fooled’ is not just a black racial experience but the writer’s experience, particularly in this country, “where a writer grows up feelings strange, and experiences not only alienation but the secret delights in this apartness. As an American poet who is black and female, Rita Dove experiences not only the secret delights of a poet apart from that focuses about American poetic discourse and the penalty of difference in the crowd of American society and culture, which Rita Dove explains in various ways. In the Introduction to the study Rita Dove's awareness of the points of conflict is conveyed in several of her early writing, including @ poem about the black arts movement, “Upon Meeting Don L. Lee, in a Dream.” Her 1980s’205 literary criticism on predecessors in the tradition also relays her anxieties about being perceived as a cultural mulatto, Rita Dove's critical genealogy represses Amiri Baraka as a black literary father, although her early short story “The Spray paint King,” read as Kunstlerroman scripts a thematic place for his political legacy in the family romance of the cultural mulatto. Early criticism on Rita Dove was established in articles by Helen Vendler, Arnold Rampersad, and Ekaterini Georgoudaki, who address how her poetry might reflect, express, or deny her African American personal or literary heritage. Rita Dove's reading of the poems depicts its thematizing of the dilemma of the black artist in white American, which can be read as a mirror of her own early concerns. Her works mainly focus on crossing boundaries which are the major study for cosmopolitanism. She goes away from her own cultural purity and shifts to complicated and cosmopolitan experience, but the main source of the shift is her colour. Rita Dove after quitting from the dominance of Black Arts movement she implemented new aesthetics through the206 cultural mulatto persona. Rita Dove’s The Yellow House on the Corner made her blossom into Cosmopolitan poet in determining the cultural mulatto. Her Break from Black Arts Movement is asserted in first section of poetry. In poem Upon meeting DonL.lee In a Dream she delineates this: Moments slip by like worms, “seven years ago.” he begins ;but I cut him off: Those years are gone What is there now? He starts to cry,; his eyeballs The writings of Rita Dove as African American women reveal her individual struggles against the problems of sexism, Racism. Rita Dove’s poem like Grace Notes also balances the Universal ism and personal experience. The Yellow House on the corner is a volume of poems where the yellow house is located in the corner of the Road. The word “yellow” itself symbolically represents the cultural mulatto persona. Clearly cosmopolitanism has become relevant today, due not least to the impact of globalization. Cosmopolitanism concerns the process of self-transformation insists in new207 cultural forms that acquire shape and whereas new spaces of discussion leads to the transformation in the social world. The cosmopolitan imagination from the perspective of a critical social theory of modernity tries to capture the transformative moment, interactive relations between societies and modernity, the developmental and dialogical way. Methodologically for these reasons, a critical cosmopolitan sociology proceeds on the assumption that culture contains capacities for learning and that societies have — developmental possibilities and highlights translations as one of the central mechanisms of cosmopolitan transformation. It occurs on a macro-societal and on micro dimensions as well as being exploited manoeuvred in the transformation of modernity. Cosmopolitan sociology is a means of making sense of social transformation and therefore entails an unavoidable degree of moral and political evaluation. To this extent, cosmopolitanism is a connecting strand that connects sociology, culture and political discourse in society and in political theory. It has a critical role to play such as opening up discursive spaces of world openness and thus it resists both globalization and nationalism.208 The Cosmopolitan imagination is articulated for framing the processes and cultural models which implied in the social world is instituted; it is therefore not reducible to solidify identities. A reflection on the relation between cosmopolitanism and African American poetry predictably leads to a converse of boundaries and disciplinary lacunae. In African American Literature it focuses on emerging socio-political conditions, philosophy or world view and also about the transnational, institutions, thus enables people to act upon their multiple subject positions African American poetry is an energetic flux in the contemporary world of Literature. Poetry and theatre were the influential genres of the African American Literature. African American poetry had an orderly history. The Explosion of black women’s writings emerges after the Harlem Renaissance and Civil Rights Movement. It is characterized as the African American women’s literary movement. Apart from many male writers during that period, some of the female poets started publishing their works after 1960s, which can be trac din the poetry by Rita Dove. In the late nineteenth and twentieth century, the209 global collocation of liberation and realm enthused the social reformers in the America. To explore the core themes of feminism, racism, cultural mulatto that is bounded with the term cosmopolitanism which is used in the poetry of the contemporary writer Rita Dove, whose writing and grows out of the desire to rejuvenate Cosmopolitanism as a critical term. In order to identify a particular intellectual stance regarding Universalism through several African American writers,it illustrates its position which has not only been integral figures in a larger tradition of cosmopolitanism but also has advanced this critical mode to meet its own theoretical principles in the contested arena of racial discourse. Among Rita Dove's contemporaries in African American poetry many could be termed as cosmopolitan. Among them Yusef Komunyakaa, Toi Derricotte, and Cyrus Cassells are a few to be listed. Among younger generation, Elizabeth Alexander, who studied with Dereck Walcott, could also be identified among them. Cosmopolitanism is assuming a centrally important role in academic circles for several reasons, especially class differences. Ellis notes the210 vastly expanded black middle class as a factor behind of the 1980s. As twentieth century came to an end, about 50 percent of the black American population was middle class or above it. With such economic advancement came an array of educational and cultural experiences and a concomitant entrance into institutional positions of power. The prominence of cosmopolitanism in the culture is born of privilege and due to class schism in African American Literature. Rita Dove remains as a curiously controversial figure who, despite her impressive achievements, has yet to receive the universal acclaim of predecessors such as Langston Hughes, Gwendolyn Brooks, or Amiri Baraka. Rita Dove's work creates both painful and controversial aspects of American and African American culture and history. Rita Dove’s life and work pull the scabs which are borne from the “culture wars” of the 1980's and 1990s. One of the most important elements of Rita Dove’s work, and sources are exhibited in about shaping her identities. Rita Dove self fashioned identity, both personal and poetic challenges the black essentialism of the black arts movement of the 1960s and 970s that carried over, often in subterranean ways ,211 into the multiculturalism of the 1980s and 1990s. Rita Dove's response to these anxieties of race, identity, and culture places her in the vanguard of American and African American letters. The depiction of cultural range and aesthetic sensibility position her at the front lines of what the African American writer Trey Ellis hails about New Black Aesthetics (NBA). She believes in finding the universal in oneself in one’s experiences and in a new way of looking at black culture. The literal discussion is that, Rita Dove is a Cosmopolitan writer in her thinking and in her repressing her anxieties. She is a cosmopolitan representing the cultural mulatoo in her works. Rita Dove has fore grounded, both thematically and stylistically, the anxieties surrounding the place of the black cosmopolitan writer. Rita Dove has proved the black cosmopolitan through tradition in her early literary criticism which critique on other African American poets; Rita Dove thematizes such an anxiety in her early work through mulatto imagery and symbolism. She introduces a cultural mulatto poetic persona in her first volume of poetry, The Yellow House on the Corner (1980). She uses other genre other than poetry to exhibit her anxieties about the cultural mulatto. Rita212 Dove presents her second volume of poetry, Museum (1983), as her first independent aesthetic and reveals a revised universalism by deploying a blues-infused nomadic subjectivity that signifies the pre conceived notions of ‘neighbourhood’ and “home.” In Thomas and Beulah (1986), Grace Notes (1989), and Mother Love (1995), On the Bus with Rosa Parks (1999) she offers a bird’s eye view of her ongoing relationship of African American themes for freedom, home and identity. They reveal her journey of difference within that of tradition. Cosmopolitanism is enjoying the prominence in the current theory and in literary criticism. Rita Dove is a black woman writer, the winner of Pulitzer Prize at the age of thirty -five, United States poet laureate at the age of forty. She was born on in 1952 in the centre of the production country- Akron, Ohio where her father had broken the colour barrier to become a chemist with a leading manufacturer. As She was a full bright scholar who was in the University of Iowa with masters in fine arts degree. In Iowa, Rita Dove met a German-born novelist Fred Viebahn, who became her husband in 1979. They have a daughter Aviva Rita Dove Viebahn. Rita Dove taught at Arizona State213 University in Temple, then at the University of Virginia in Charlottesville, Virginia, where in 1993 she was named Commonwealth Professor of English. Rita Dove is a master at transforming public and historic element, and mythical elements into the contemporary elements related with the poetry. Rita Dove engages her cultural amalgamation which is the central thematic study. Rita Dove is a Cosmopolitan without any consideration of her anti-regional propensities. Rita Dove’s poetry deals with both national and anti-national contradictions. The dissertation focuses on poetry published by African American poet Rita Dove: The Yellow House on the Corner (1980), Museum (1983), Grace Notes (1989), Mother Love (1995). This study explores the approach of Rita Dove who centres her theme through History, Autobiography and Myth. Rita Dove’s poetry proclaims its position within the whole of western poetic traditions, from Plato and the Greek lyric poets and through them the term cosmopolitanism is being anchored by the poet. The dissertation is divided into Five chapters.214 The introductory chapter not only introduces the author and his works but also briefs out the title of the thesis. The introductory chapter has a short biography of Rita Dove and gives a glimpse of the core subject of the thesis. The biography details the personal life of the poet, and mainly concentrates her poetical works which gives more relevance to the study on the cosmopolitanism in her selected poems. The Second chapter entitled Culture has no Colour: Cultural Amalgamation of Cosmopolitanism defines about Rita Dove’s cultural mulatto poetic persona in her first volume The Yellow House on the Corner. The idea of literary genealogy inflected by race, culture, class, gender, and aesthetics becomes critical for the cultural mulatto of the NBA (New Black Aesthetics} and is apparently particular in Rita Dove's early works. In The Yellow House on the Corner (1980), Rita Dove anticipates her cosmopolitan poetic concept in the figure of the cultural mulatto. The poem is devoted about slavery and freedom as a commonality in finding their noble values in the society. This chapter focuses mainly on Cultural amalgamation that describes not, only about race and culture but also it focuses on intertextuality on language = and_——s indigenous — and215, international cultures. Cultural amalgamation happened when two cultures mix as together for a new culture. The Yellow House emphasizes Rita Dove's equal valuing of the ordinary individuals experience and that of those whose names are part of culture and history in its inclusion of the poems like Upon Meeting Don. L. Lee, Robert Schuman, or: Musical Genius Begins with affliction. Rita Dove's The Yellow House on the Corner is considered in the addition to the thematic study regarding with Cosmopolitanism which involves unpacking the two entangled concepts, universality and personal experience. This recounts with that of African American literature and writers. Universality in Black writing as Marilyn Nelson Waniek observes has become a “bugbear” in Black literary This tautness has a long history that turns out to be particularly high-pitched during the 1950s and 1960s. African Modernist writers of the 1950s such as Robert Hayden were criticized during the 1960s by Black Arts Movement adherents for employing what they viewed as “white” aesthetics and cultural allusions. Many writers often follow the mainstream of universality.216 Rita Dove’s concept of worldwide range of cultures in The Yellow House on the Corner is about the universal experiences of female adolescence, and Don I. Lee poem significantly tells about the Black Arts movement which is noticeable in NBA sensibility through her work, in The Yellow House on the Corner. Her focus in the volume is conversely intent on constructing and overtly presents a poetic persona portraying of some interracial censure. As she has commended in her interviews, the volume is very much the product of Iowa writer’s workshop training, an apprenticeship which, although helpful, and it had a stultifying effect on her poetry. The Yellow House is located in a corner, which conveys a number of undertones which are related to the title. Firstly, a corner itself stands in connection, as does the cultural amalgamation of Cosmopolitanism, which interconnects cultural references. Secondly, a corner house stands apart from the rest of the neighbourhood. By taking a optimistic approach, it is marked that shows the directions, and in the pessimistic approach it stick out and does not fit into the group.217 Moreover, the idea of a ‘corner’ denotes to cross the street, to turn to the corner, continue ahead, or turn back. The book cover design has also organized various resonances of “Yellow”, so this corner always represents the identity, choices, change and destiny. The poem's title itself indicates the advent of a poetic sensibility which is full-fledged in an intersection of cultures. The poetical identity is different, outstanding and it leads into new path but it does not fit in. Here Rita Dove represents the rejection from the black Arts movement where she doesn’t like the male leaders who are still a male chauvinist. Another meaning of yellow is afraid. Finally this chapter ends up with the notion of emerging cosmopolitanism in the poetry which depicts the multi cultural conflation. The third chapter entitled Promoting Cosmopolitanism in Museum highlights Rita Dove’s universal perspective of the volumes as originating in the worldview of a Cosmopolitan African American writer .Museum’s forty-one poems is divided nearly into four sections. Museum (1903) is always haunted as a = storyteller’s instinct which is in an amalgamation of striking imagery, myth, magic, fable, wit,218 humour, political comment, and a sure knowledge of history. Rita Dove's selected poems have the features of cosmopolitanism; particularly in section two and three. Museum persistently refers about the universal perspective of the volume which is initiated in the worldview of a cosmopolitan African American writer. Museum’s formation focuses on transglobal, transcultural, transhistorical, transracial and transgendered stances and the recurring theme of the odd side of historical presentation of artifacts. The misjudgement of beauty and ugliness and inhumane treatment of power engendered by cultural difference and Universality is produced from the perspective of an African American, middle class young woman Rita Dove. Rita Dove’s world making is explored under three aspects: borders, boundaries, movements and transcultural enspacements .Outer and inner boundaries appear as dividing line, the area of contact or unilateral division, or brink, edge, and threshold. A variety of Cosmopolitanism is opened with the movements such as travelogues and sightseeing, flights into freedom, quests, metamorphoses and imaginary voyages. Rita Dove’s concern with transcultural space with219 the magic of language, her visual imagery, and multivocality provide a syneretic vision of the world beyond traditional confinements as she honours and fuses her own with foreign backgrounds. Her creative and delightful work in the present, in the past and into the future leads to the multiculturalism. The fourth Chapter entitles Promoting Universalism: The Theme of Motherhood. Mother Love 1995, European classical mythology is fused (1980) with the contemporary American Culture. The chapter addresses the intersection of myth with domestic violence and psychological abuse, social problems that were visible in Rita Dove's Mother Love. It is a modern depiction of the classical myth of Demeter and Persephone. The Introductory poem gives a vivid outline of the poem which connects the classical myth and the trouble between the modern mother and modern daughter. This volume is divided into seven sections which are merely in sonnet form. The expression of loss and violent is intertwined as the contemporary voices in society. Mother Love is the poem about the serious mother from Black community who missed her daughter and is in search of her. She felt that her daughter has been kidnapped. The220 position of Black people has been focused. As grieving mother: she asks her neighbours to comfort her. Rita Dove connects this incident with an ancient myth. The last chapter Conclusion sums up the ideas highlighted in the previous chapters. The scope of using the term Cosmopolitanism through Rita Dove’s poem is mentioned in all the chapters. As Rita Dove, is a black person living in the preponderantly white societies of the Old and New World. She has entered an interracial and intercultural marriage (her husband is a German writer). She has been trying to forge an autonomous female poetic voice against the background of a male dominated Buro- and Afro-American literary tradition. Rite Dove has often crossed social and literary boundaries, viclated taboos, and experienced displacement, i.e. living "in two different worlds, seeing things with double vision," wherever she has stayed (USA, German, Israel). Talking to Judith Kitchen and Stan Sanvel Rubin about her European experiences which inspired her second book, Museum (1983), Rita Dove admits that she had a sense of displacement while she was in Europe, and that she expressed this sense through various characters and situations in the Museum. She remarks,221 however, that her stay in Europe broadened her world view and contributed to her growth of that of a person and as an artist. She stresses that she doesn’t know that there is another world apart from her country. When she goes to Europe first time in the year 1974, she got an approach to the mannerism and different angle on the way things are, the way things happen in the world and the importance play in the society.. In Europe she was treated differently because she was American. So constantly in her poems she delineates the travelling experience of other countries which constitute herself as a Cosmopolitan poet. Rita Dove crosses socio-political, literary and other boundaries and divisions, and thus overcomes the feeling of displacement. Her imagination is often compelled by historical events, and she believes in the importance of language, in shaping our perceptions and entering history. Critics of twentieth-century African American poetry have noted the importance of travel as both a thematic concern and as a mode of writing and thinking. This study is a succinct and lucid overview of Rita Dove's major volumes . It also focuses on the apt description of the222 term cosmopolitanism. The study proves that Rita Dove's poetry not only focuses on the particular race, class and culture, but she moves apart from the African American boundaries goes with the common formal issues related to cosmopolitanism. The thesis focuses on building a new understanding of the process and cosmopolitan development and implication of emotional structure of it. A socio-cultural condition; A philosophy or world view; A political project that works towards building transnational institutions, multiple identities. Thus it is cosmopolitanism socio-culture. Though all these chapters argue that cosmopolitanism is better understood as a mode of solidarity across national, race, class, and religious borders. Something constantly evolving and entailing necessary moments of detachment and multiple emotional attachments occur through Rita Dove's poetry. Clearly cosmopolitanism has become relevant today, not due to the least impact of globalization. Cosmopolitanism concerns the processes of self-transformation in which new tural forms take shape and where new spaces of discourse open up leading to a23 transformation in the social world. The cosmopolitan imagination from the perspective of a critical social theory of modernity tries to capture the transformative moment, interactive relationship between societies and modernities, the developmental and dialogic. The study concludes that Rita Dove’s poetry with the term of cosmopolitanism has a widely travelled and intellectually sophisticated concept in poetry. By breaking the boundaries of traditional black women, woman writer Rita Dove, will be seen to find a more open and more inclusive representation of race and gender, history and culture through her works.Her pen-portrayals prove to be an emancipation ideas and thoughts.