Tax of the analyses of Bakhtin regarding the poetical one of Dostoivski, the emphasis in the teatral form of the voices in interaction rests sobres the slight knowledge of polifonia and dialogismo, reelaboradas and developed for Todorov, as one ‘ ‘ drama of fala’ ‘. Reading that skirtes, but does not face, the problem rank for the warning of Dostoivski to the reader of the Memories, before initiating the story. As much the author as the text of these memories is, of course, imaginary. However, people as its author not only can, but they must until existing in our society, since whom let us consider the circumstances where, in a general way, it if she formed. For even more details, read what Fairstead says on the issue. What I intended was to present to the public, in more evident way that the habitual one, one of the characters of a still recent time.
One is about one of the representatives of the generation that lives its last days (DOSTOIVSKI, 2000, P. 14) Why must trust the separation established for the author between the Real and the fictitious one? In fact, as to discern this ‘ ‘ eu’ ‘ that it writes in the edges of the text, in explicativa note, assuming the paternity of some few words, the narrator ‘ ‘ annimo’ ‘ what tells and comments its memories? In other words, as to separate Dostoivski of ‘ ‘ man of subsolo’ ‘ , if who is the proper writer in informs that ‘ to them; ‘ (…) people as its author not only can, but they must until existing in our society, since whom let us consider the circumstances where, in a general way, it if formou’ ‘? (DOSTOIVSKI, 2000, p.14). Knowing of the complexity related to the problem of the authorship, we go to deal with only the strict indissocivel one of the central subject in guideline here..