The question of Julia de Burgos has been a major concern of critics and scholars of her work since her premature death in 1953. This dissertation critiques a biographical approach to Burgos's poetic production while focussing on her three major books of poetry, Poema en veinte surcos, Cancion de la verdad sencilla, and El mar y tu. Using both a semiotic model and a philosophical one this thesis ... [Show full abstract] examines the tension that arises out of a multiple articulation of the Self in relation to its interlocutor that at the same time remains essentially "nuclear" as the consistent source of poetic enunciation. By using models developed by Julia Kristeva and Martin Buber, we elucidate a phenomenological approach to the interfacing and union of pronomial relations that Burgos's poems constantly negotiate. The metaphor of the nuclear is employed to underscore the dominant position maintained by the subject in relation and the subsequent subjective structure that follows from it within a phenomenology of communicative interaction. The major accent on the multiplicity of the poetic subject in the first book of poems switches in the second one to reveal a more dualistic correspondence between identity and object, and also shows a more pessimistic consideration of experience when the object (the "tu") is absent or only anticipated. The last chapter examines the continuation of this movement between duality and unicity while also analyzing El mar y tu as a poetics of melancholy in which a unity of self may be effected or reconstituted by adhering to sadness as a "new" object of identification. Source: Dissertation Abstracts International, Volume: 53-12, Section: A, page: 4342. Thesis (PH.D.)--SYRACUSE UNIVERSITY, 1992. Microfilm.