Evidence for the Existence of God - the Case of Dostoevsky

This theme was one of the main ones for Dostoevsky, he turned to it throughout his life and work. As everyone knows, its essence has taken the form of catchphrases like „If there is no God, then we can do everything.” The theme has given rise to a huge number of interpretations. Some of them go back to the discourse of proofs of the existence of God as it has developed in the history of philosophy. In Christian theology, the argument relating to the question of the existence of God has received the general definition of “ontological proof of the existence of God.” In general, the scheme of reasoning in the ontological proof can be represented as follows. An absolutely perfect being, such as God appears, must have the totality of perfections; existence is one of these perfections; God, as a perfect being, must have existence not only in our imagination, but also in reality; therefore, God exists. In the Western European philosophical tradition, Descartes, Leibniz, Kant, Hegel, and others turned to ontological proof. Kant, examining the classical proofs of the existence of God, showed that the existence of a thing cannot be seen in the content of its concept. Thus, it is impossible neither to prove nor disprove the existence of God. The appeal to this topic in the general cultural Russian discourse, and in the emerging Russian philosophical discourse, was due to two circumstances. First, the influence of European classical philosophy. One can recall Pushkin’s lines: “By the name of Vladimir Lensky, / With a soul directly Goettingent, / A handsome man in full bloom of years, / An admirer of Kant and a poet,” or Belinsky’s mental anguish about the Hegelian formula “everything real is reasonable, everything reasonable is real”. Secondly, the impact of Western technogenic civilization on Russian society, traditional in its type. One of the manifestations of this influence was the increased tension along the line “faith – knowledge” (“religion – science”). The article attempts to translate Dostoevsky’s plots into axiology and the theory of values. The general conclusion that follows from the analysis of Dostoevsky’s work in the context of the article can be formulated as follows: the denial of God leads to the legalization of his surrogate likenesses.