More specifically, the question of the artistic autoconscincia as dominant. I.SOBRE the WORKMANSHIP Published in 1864, in the literary magazine Time, established for Dostoivski and its Mikhail brother, Memories of subsoil was written in the headboard of death of its first woman, in a situation of acute financial necessity. The romance in them brings a disenchanted man, employee of low the Russian bureaucracy, that deferred payment with the Aplon employee in a modest apartment in the subsoil of a building. Overwhelming and pessimistic, this man without name discloses in them, for its proper voice, an absolute disdain for the world its return and, at the same time where he chooses the solitude, he seems, at certain moments, to amargurar itself still more with it. Through this voice, of personage-narrator, who resounds to the force of paradoxes, it invests fierce everything and all against science and the superstition, the progress and the delay, the reason and desrazo-; but above all, it invests proper itself, the proper conscience, that if it affirms and if it denies itself exactly successively. 1.1. The Subsoil Memories of the Subsoil if divides in two parts. The first one, intitled of the Subsoil, is the teorizao of the ideas of the narrator/personage.
Displays it them as if it was dialoguing with the reader, assuming its reactions, foreseeing its commentaries. The speech is direct, owner of an acidity cultivated in fifteen years of auto-flagelamento. It is the relief of that of in such a way remoer in guilt for being what it is, it learned to feel pleasure in this. I am a sick man A bad man. An ackward man. I believe that I suffer from the liver. By the way, I do not understand nickel of my illness and I do not know, to the certainty, from what I am suffering. Me treatment and never I did not treat myself, even so it respects the medicine and the doctors.