The narrator and the author, are not capable to answer with precision to the personage on who it are: ' ' to the conscience all-absorbent of the personage the author can oppose only one objective world? the world of other isnomas consciences ela.' ' (BAKHTIN, 1997, P. 49). The Modern Man, trusts itself exactly and in sciences, that in the reality are fancies would second and nothing they say on the man, but only of it the happiness sensation, … the man contemporary and taken by the search blinded for results, without the least to reflect on s mesmos' ' (DOSTOIVSKI, 2000, p.28). Dostoivski, always portraies the man in the threshold of the last decision, at the moment of crisis and incomplete overturn? not-predetermined e? of its soul. This great dialogue artistic is organized as the all not-closed one of the proper situated life in the threshold. At last, through this artistic procedure, the conscience of the creator of the polifnico romance is constantly present in all this romance.
It ahead feels to its side and of itself the eqipolentes of others, so infinite consciences and inconclusas how much same it. It reflects and recria necessarily an object world but these consciences of the others with its worlds, not recriando them in its authentic inconclusibilidade – therefore the essence of them inhabits there – and dialogicamente, without objetificar them. ARTISTIC DOMINANT III.A AUTOCONSCINCIA WHILE One, amongst some concepts of focalizao, can be found in the Dictionary of Theory of the Narrative as the concretion, in the plan of the narrative statement, of diverse possibilities of activation of the perspective narrative, can be defined as the representation of the diegtica information that if finds to the reach of one determined conscience field, either of a homodiegtico narrator or a heterodiegtico narrator. It conditions the amount of propagated information (events, personages, spaces, etc.), reaches its quality, for translating a certain position affective, ideological, moral and ethical in relation to this information. It is therefore, a crucial procedure of the representation strategies that conduct the discursiva configuration of history. (KINGS & LOPES, 2004, p.246). In its workmanship the point of view in the fiction, to develop the classification of the eight types of focalizao? editorial omniscience, neutral omniscience, ' ' I' ' witness, ' ' I' ' protagonist,