Este trabalho aborda aspectos dialógicos e polifônicos, bem como elementos da menipeia, presentes na obra de Dostoiévski e também no conto Bobók, sob o ponto de vista da teoria dialógica de Bakhtin. A análise – que recorre principalmente a Bakhtin (2015, 2011, 2010a, 2010b), Brait; Machado (2011), Schaefer (2011) e Schnaiderman (1983) – consiste, metodologicamente, na investigação do processo de construção do sentido do enunciado a partir das relações dialógicas instauradas e do projeto discursivo do autor. A conclusão destaca que o conto Bobók é, pela maestria com que o autor usa a arte literária para fazer crítica satírica, a obra mais pontiaguda com que Dostoiévski alfinetou a sociedade da Rússia oitocentista.
This paper approaches dialogical and polyphonic aspects, as well as menippean elements present in Dostoevsky’s works and also in his short story Bobok, from the point of view of the dialogic theory. The analysis – which mainly uses Bakhtin (2015, 2011, 2010a, 2010b), Brait; Machado (2011), Schaefer (2011) and Schnaiderman (1983) – methodologically consists in the investigation of the enunciate’s process of construction of meaning, while taking into account the dialogical relations established and the discursive project of the author. The conclusion emphasizes that the short story Bobok is, by the mastery with which the author uses the literary art to make satirical critique, the most pointed work that Dostoevsky needled the society of nineteenth-century Russia.
