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"In literature the double is due to the author's conscious or unconscious desire for a larger range of actions, possibilities of behavior because of his hero which move beyond the morally acceptable, and this desire will make itself in the form of a double sided, or anti-hero" writes Joyce Carol Oates in her part "Tragic and Comic Visions in The Brothers Karamazov." As Oates indicates that doubles are made in order for an author to expand a character's array of actions that were believable, doubles exist to bring about change in their original types. Citing Mikhail Bakhtin's criticism of Dostoyevsky's creation technique, I plan to align the writer's goals with the intentions of his characters, and clarify that due to the author's requirement for a wider array of motion within a personality, the personality themselves generates a double. During an understanding of the, an individual can see my theory through a psychological viewpoint of the first, non-duplicated, character. I also plan to present the idea of the dual as an authorial tool. The latter perspective intends to test doubles throughout in only natural light. A psychological standpoint is right for my research paper to the fact that each one of those prime examples of doubling I aim to discuss occur unconsciously. The intentions of the originals, in my case Jack from Fight Club and Ivan from The Brothers Karamazov, which lead into the creation of the doubles lie deep within their psyches and are unacknowledged by the personality. I plan to explain what happens inside the depths of a character's mind leading up to the situation where a dual is inadvertently created. In relation to my book and character selection I intend to talk about dissociative fugue (a result of dissociative identity.