The archetypal image of the "Promised Land" in the Russian Utopia

Petrova Regina Andreevna Postgraduate student; Faculty of Philosophy; I.S. Turgenev Oryol State University 302001, Russia, Orel region, Orel, Komsomolskaya str., 95 aposteriori.2017@mail.ru Other publications by this author

1. Introduction

The search for an ideal place, a harmonious space embodying a model of the best world order, is the semantic determinant of utopia. Therefore, the problem of the presence of ancient plots and archetypal images in utopian constructions (Eden, Heavenly City, Paradise) characterizing the "ideal topos", as well as depicting the achievement of prosperity and prosperity by society, does not lose its relevance and is reflected in various studies by modern authors (N.I. Uchaikina ^[26], Yu.A. Nikulina ^[17], E.I. Petrova ^[21], T.S. Paniotova ^[19,20], and others). The very process of reconstructing archetypal images in utopian visions of the future is explained by researchers through the discovery of a close connection between mythology and utopia (N.G. Fry ^[29], F. Polak ^[37], and others).

The purpose of our research is to discover and determine the specifics of the functioning of the archetypal image of the Promised Land in the literary utopias of M.M. Shcherbatov, V.F. Odoevsky, A.A. Bogdanov and the socio-philosophical utopias of N.F. Fedorov, S.N. Bulgakov, N.A. Berdyaev. Focusing on this archetypal image will, hopefully, allow us to discern universal hopes and expectations in utopian projects that are rooted not so much in the future as in layers of collective memory.

The object of the study is the image of the Promised Land, which contains an archetypal idea of the place of abundance and prosperity in earthly reality. The subject of the research is the literary utopias of M.M. Shcherbatov, V.F. Odoevsky, A.A. Bogdanov and the philosophical texts of N.F. Fedorov, S.N. Bulgakov, N.A. Berdyaev, in which we find descriptions of exemplary places/worlds reflecting collective hopes for social harmony. The methodology of our research consists of comparative historical, hermeneutic, and structural-typological methods. They allow, firstly, to identify the genesis and development of the image of the Promised Land itself, secondly, to analyze the texts of the authors in a cultural and historical context, and thirdly, to identify similar features in the works of Russian writers and philosophers that make it possible to identify the image of the Promised Land as archetypal.

The scientific novelty is due to the fact that the analysis of literary and philosophical utopias is carried out for the first time through the prism of the archetypal image of the Promised Land. We consider the image itself not only as the basis of the chronotopic structure of the text, which forms a fusion of spatial and temporal signs in a meaningful and concrete whole (M.M. Bakhtin ^{[2, pp. 121-122]}), but also as a tool that helps the authors reveal the essence of social expectations about the organization of a world where the ideals of freedom, equality and justice.

There is a wide variety of views on understanding what the term utopia means, the meaning of which extends from a literary genre close to science fiction ^{[15, p. 156]} to an architectural and landscape project designed to harmonize the artificially created environment surrounding a person ^{[11, p. 7]}. In this study, utopia will be understood as a mental model that reinforces hopes for a perfect social state. At the same time, we will turn to projective utopias, the authors of which not only model a better social structure, but also connect it with the future.

Defining the image of the Promised Land as archetypal, we are guided by the psychoanalytic theory of the Swiss psychiatrist, cultural critic and philosopher C.G. Jung. According to his position, archetypes (Greek: αρχή - beginning and τυπος – image, type) are unchangeable spiritual archetypes that have existed since time immemorial and contain imprints of the cognitive experience of previous generations. They are an expression of a deeper layer – the collective unconscious, which is compared by C.G. Jung to the repository of everything that has been experienced by mankind, starting from its most distant origins ^{[34, p. 181]}, a timeless and eternal image of the world ^{[34, p. 420]}. Unlike the individual unconscious, which contains the experience of personal impressions repressed by the psyche, the collective unconscious is the matrix of all events that once took place, an inexhaustible source of the spiritual heritage of all mankind. This collective psychic body has a timeless and supra-individual nature. Therefore, the contents of mythology, religion, and various philosophical teachings in Jung's theory are reduced to archetypal primordial forms.

However, K.G. Jung emphasized that having a clearly expressed numinous (sacred) character, archetypes are "transcendental" in nature and inaccessible to direct contemplation ^{[32; 34, p. 236]}. Archetypes are expressed and interpreted through symbolic images that embody archetypal patterns in a visible form and provide a link between the collective and individual psyche. In this aspect, he explains that "we face a similar situation in physics: there are tiny particles that cannot be seen on their own, but based on their manifestations we can build their model. An archetypal image, motif, or mythologeme are constructions of this kind" ^{[34, p. 237]}. Consequently, contact with archetypal universals occurs indirectly: through images, symbols, plots and motifs, which find their vivid manifestation in fantasies, dreams, myths and literary monuments, in art images, etc.

Despite the fact that archetypal images are secondary to their archetypal images and can be filled with different meanings depending on cultural and historical conditions, they do not lose their emotional dominance. As K.G. Jung pointed out, unlike a simple image, the archetypal image has a powerful charge of psychic energy and is capable of causing a deep emotional resonance, due to which it acquires its sacred meaning, "vitality" for entire epochs ^[32]. Majestic collective images and symbols of religions are a vivid example of this. Therefore, defining the image of the Promised Land as archetypal, we mean not only its variability, repeatability and rootedness in the collective memory of society, but also emphasize its emotional fullness, the ability to influence people's consciousness both on a collective and individual level.

In the process of researching patients' fantasies and dreams, C.G. Jung discovered symbolic meanings identical to the image of the Promised Land: "innocent land" ^{[33, pp. 151-153]}, "mother earth" ^{[33, pp. 416-417]}, "Eden" ^[32]. According to C.G. Jung's observations, these and other images of ideal islands and Arcadian bliss express the desire of each person's soul to return to the state of "paradise lost", which resembles a child's time, where it is possible to feel a sense of freedom and carefree joy again. In this case, the projection of the "heavenly abode" is one of the stages of the individuation of personality and plays the role of a connecting link reconciling individual consciousness with the archetypal idea of a place devoid of worldly worries and misfortunes. Thus, in C.G. Jung's interpretation, the idea of the Promised Land can be guessed in a wide variety of images that are consonant with expectations of a better life.

For a deeper understanding of the image of the Promised Land, it is worth referring to the books of the Old and New Testaments ^[6], in which it is associated with collective hopes and hopes for the embodiment of the "Kingdom of God" on earth. In the Old Testament, a vast land flowing with "milk and honey" was promised to the Jewish people upon exodus from Egypt (Exodus 3:7-8). It is described as "the most beautiful inheritance of many nations" (Jeremiah 3:19), as "a good land" (Deuteronomy 8:7-9), where springs of water flow, beautiful fruits grow in abundance, and prosperity and prosperity reign. "Promised" means the "promised" land for the people of Israel. Her descriptions are full of vivid metaphors: "perfect", "eternally blooming", "fertile land", which in a sense is a semi-fantastic image, if correlated with real, tangible reality. Despite the mystery and mythical nature of the space, it had a territorial specification within the borders from the Egyptian River to the Euphrates River (Gen. 15:18), the inheritance beyond the Jordan to the east (Numbers 32:19).

A slightly different interpretation of the promised place on earth originates in the prophecy of the "Millennial Reign of Christ", which is contained in the New Testament (John 20) and is the central theme of Millenarian expectations, as well as the prototype of socio-utopian projects. The acquisition of the Promised Land is associated with the beginning of the "Golden Age" — the final stage of history, marking the imprisonment of Satan for a thousand years and the announcement of the time spent with Christ. This biblical image had a deep symbolic meaning and inspiring power: it foreshadowed salvation for those who renounced sinful aspirations (did not worship the beast) and reigned with Christ for a thousand years (Revelation 21:4), and at the same time included expectations of a comfortable, happy and blissful life, promised to the Jewish people. The latter was the subject of chiliastic disputes between early Christianity and Protestant movements during the Reformation era, which became the basis for the formation of various Millenarian movements trying to answer the question not only about when exactly this cherished period would come, but also about what kind of nature (physical or metaphysical) the future kingdom of Christ would have.

Thus, the biblical texts contain references not only to the eschatological perspective of the "end of time", but also to optimistic expectations of the Kingdom of God on earth. In this regard, the Uruguayan literary critic Fernando Ainsa defined this image as a stable myth expressing an idealized "space of desire" (located there in another dimension) and opposed to the "real" space (located here, where a person lives) ^{[1, p. 50; pp. 142-143]}. Studying the influence of this image on modern European utopias, F. Ainsa pointed out that "The Promised Land, projected into the future due to its Messianic dimension, implements its specific spatial topos in time: Canaan for Jews wandering in the desert, Ithaca for Odysseus, the Pure Land for Plato, for the Japanese – the pure land (Yodo) and the land of awards (Hodo), A Land "without evil" for South American Tupi Guarani... For Christians, the promised land is also a Holy Land par excellence" ^{[1, p. 145]}. Thus, the myth of the "good earth" actually travels through time and changes its essential characteristics over the centuries. This becomes noticeable in successive sacred texts: from the land filled with material goods (the land of Canaan) to the "spiritual space of desire and hope of mankind" (i.e., to the New Jerusalem) ^{[1, p. 144]}.

The idea of an "extraordinary place" is reflected in Russian culture. Its roots can be traced back to the pre-Christian tradition, when the image of a fertile land dominated the collective consciousness. Acting as the source of everything, the earth and its fertility were one of the conditions for survival. Agrarian cults and pagan pantheons of gods (Makosh, Lada, Rod ^[22]) were responsible for a rich harvest, a favorable course of economic cycles and the preservation of goods. Ancient Russian people had the idea that the richer the earth is in its resources, the happier life on it is. This left a special imprint not only on the perception of the earth as a generative substance, but also on the sense of time (cycles of the year, seasons) and space (rivers, mountains, including the animal and plant world), which were endowed with sacred value.

With the baptism of Rus, the image of the fertile land began to be associated with the concepts of holiness and spirituality. The model of the Kingdom of God was superimposed on the pagan heritage, and the surrounding world began to be associated with the primordial divine beauty. This feature was emphasized by the Russian researcher V.N. Toporov, noting that a new idea was formed on the old substrate of mythology (the idea of material fertility), which became a super goal for the Russian person: the achievement of the "Holy Kingdom" in a specific space ^[24]. Thus, the image of the Promised Land formed the basis of collective hope, and the hope that the state of mind could be brought closer to the real world began to possess unprecedented power.

Mystical ideas about a righteous place on earth are reflected in folklore stories and religious-utopian legends. For example, the image of the fabulous sunny land "Irye" or "Iriy" (presumably located in warm countries) has become a peculiar Russian form of interpretation of the "other being" located on the other side of everyday reality ^[25]. The "Kitezh legend" about the hidden city in the Nizhny Novgorod region focuses on the image of a magical world that is accessible only to "pure-minded" people ^[14]. Later stories about the city of Ignat and the way to Belovodye contain ideas of brotherhood, communal ownership, and the absence of social oppression ^{[30, p. 6-7; p. 239; p. 290;]}. One cannot but assume that the echoes of these stories influenced the Russian utopia.

The image of the Promised Land has entered into historical and philosophical thought as an idea of a place where a social ideal will be embodied and social harmony will be established. Since the Middle Ages, this image continued to carry shades of chiliastic expectations and expressed the idea of the possibility of gaining earthly bliss through profound social transformations (the doctrine of the "three epochs" by I. Florsky ^[12], the socialist sermons of T. Munzer ^{[36, 23]}). Among the theorists of the Enlightenment era, the image of a "perfect" earth was represented in the democratic order on the island of Utopia (T. Mohr ^[16]), in the communist organization of Christianopolis (I. Andrea ^[35]), in the social structure of the island of Bensalem and the scientific tasks of the house of Solomon (F. Bacon ^[10]), in the way of life and mores of the city The Sun (T. Campanella ^[13]). The image of the Promised Land among utopian philosophers acts not only as a pointer to an ideal space that has never been seen before by mankind, but also as a representation of the best model of social existence.

In a broad sense, the archetypal image of the Promised Land embodies the idea of a place associated in the collective consciousness with a state of peace, contentment, prosperity and security. Being a metaphor of hope for a world where everyone will find their place, and harmony and prosperity will turn to the benefit of all, this image is reflected in religious, mythological and philosophical projections concerning the vision of a perfect future, the realization of ideals, and the achievement of goals in the process of spiritual quest of society.

2. The archetypal image of the Promised Land in the Russian literary utopia

In M.M. Shcherbatov's utopian novel "The Journey to the land of Ophir by Mr. S.... a Swedish nobleman" (1784), the central theme is directly related to the description of the prosperous Ophir Empire, where, after a sea storm, according to the plot, Mr. "S." gets on the frigate Nadezhda ^[31]. Despite the fact that the author of the utopia uses the biblical name "Ophir" – a land full of gold and jewels (II Par.10:11) ^[6], the narrative emphasis is shifted from the typical description of wonderful animals and birds to clarifying the social structure of the unknown kingdom.

It is worth saying that M.M. Shcherbatov wrote his utopian novel in the context of rethinking the reforms of Peter I and the enlightened absolutism of Catherine II, which influenced the "decline of morals" of the Russian nobility. The author recreates a different picture of Russian reality, which emphasizes the value of the common good, the role of public opinion, the importance of virtue and "spiritual simplicity." On the land of Ophir, we see the wise and legally limited rule of an enlightened monarch who cares solely about the "benefit of the people." The established laws are not only mandatory, but also value-imperative, so that the estates interact "in peace and harmony." On the basis of the catechism (civil and moral), good morals are brought up among citizens from their youth. Daily life is subject to strict regulation (spiritual and health police have been established). The institution of the Church plays a normative role. The towns are built at an effective distance from each other, contributing to an even distribution of industry and trade. The life and appearance of the provinces is not famous for luxury and "great splendor", but is modest, concise and aimed at multiplying spiritual virtues ^[31].

Analyzing the storyline of the story, we can find features that make it possible to place this utopia in the focus of the image of the Promised Land.: 1) the author focuses on an unprecedented country lying near the Antarctic pole, in which "no one has been" and there is no mention of it in the outside world; 2) the author uses toponyms that refer to points of familiar location and appear during the acquaintance of the protagonist with the "new earth". They correspond to Russian cities: Peregab (Petersburg), Kvamo (Moscow), Tervek (Tver), Agiara (Arkhangelsk), Efonbiag (Yekaterinburg), etc.; 3) The Ophir land is presented by the author as the best example of the social structure of Russia.

Similar features can be traced in V.F. Odoevsky's utopian novel "4338th year: Petersburg Letters" (1835), where the archetypal image of the Promised Land is guessed in the "Northern Kingdom" depicted by the author, where the Chinese student is transported by means of a dream and describes his impressions of what he saw in letters to a friend. Unlike the Ophir Empire, whose image is borrowed from the past (the beginning of Peter's reforms), Odoevsky's Northern Kingdom looks to the distant future and reflects dreams of scientific and technological progress. Preserving the mores of the "Nikolayev era" with the monarchical system of government and class division, the Northern Kingdom is the center of world enlightenment and is famous for its high level of innovative development.

The spatial location of the Northern Kingdom is St. Petersburg (and Moscow, which was once part of it), covering the Northern and Southern hemispheres of the earth. The path to this land runs through the Himalayan and Caspian tunnels, through which the main character travels by electric boat. The exterior and interior of the city are endowed with mysterious beauty: crystal vaults and roofs of houses, heated pools, indoor gardens with a variety of fruits, luxurious plants and overflowing music ^[18]. It is impossible not to notice the symbolic references of the author to the "garden of Eden" present in the text. The temporary location associated with the future also provides the Northern Kingdom with the status of a "place that does not exist" and which everyone would like to enter.

The fascinating atmosphere is given by the extraordinary technologies available to this region: elastic glass, electric locomotives, and magnetic telegraphs have been invented. Airships (galvanostats and postal balloons) have been introduced into general use, a hydrophone, a pinhole camera, a clock made of smells and "electric conversations" are used. Access to outer space has been gained, expeditions to the moon are underway, and climatic conditions have been improved. All these achievements in the Northern Kingdom appeared due to the fusion of sciences and the achievement of a "unity of direction" of scientific activity ^[18].

In V.F. Odoevsky's utopia, one can also trace several striking details referring to the archetypal image of the Promised Land.: 1) throughout the plot, both the spatial and temporal remoteness of the Northern Kingdom is preserved, which is ensured by the author's appeal to the motif of "hypnotic sleep", which distinguishes between real and "other" reality, which allows us to depict a picture of a possible future; 2) The Northern Land is presented as a completely new, transformed reality, as "another world" who has achieved not only technological flourishing, but also a high level of morality. In the Northern Kingdom, hypocrisy and pretense between people are minimized, and their desire to "admire tragedies" is surprising ^[18]. Moreover, in addition to the established rules (holding a month of "rest" for useful solitude and inner development), scientific research itself plays an important role in maintaining an atmosphere of social harmony. The widespread practice of "magnetic baths" for telepathic conversations and "revelations" between people promotes open relationships and the leveling of disagreements.

It is worth noting that the anticipation of scientific and technological progress and the expectation of a production breakthrough were characteristic of the public thought of the 1930s. Through the archetypal image of the Promised Land, expressed in the world order of the Northern Kingdom, V.F. Odoevsky translates ideas about the high potential of scientific research, unlimited possibilities of human knowledge and intellectual work, which are the key not so much to a comfortable, but to a safe and happy future.

An illustration of the social world order based on communist principles is contained in Alexander Alexandrovich Bogdanov's socialist utopia The Red Star (1908) and its sequel The Engineer Manny (1912). The utopian image is represented by the Telluric planet Mars, where the young revolutionary scientist Leonid and his Martian colleague are sent on a spaceship. The plotline of A.A. Bogdanov's utopia preserves the archetypal components of remoteness and idealism of the place. The Martian civilization is twice as old as Earth and surpasses it in its technological development ^[7]. The Martians learned about the existence of an Earth civilization not so long ago. However, the lessons of feudal society and capitalism have long been learned on the Martian planet, and the communist principles that form the ideological and social basis of the Martians usefully direct collective forces to fulfill the "common cause." Feelings of "personal ownership", which manifest themselves on Mars most often in children, are defined as vestiges of the past, which over time are replaced by attitudes of the social environment.

In the process of introducing the protagonist to the way of life on Mars, a variety of scientific and technical achievements are revealed that were unthinkable for an Earth civilization at the beginning of the 20th century: "minus matter" was developed, which makes it possible to travel through the ether on "etherophones" (spaceships), a printing phonograph, optical telephones with video recording, and aerial gondolas were invented. (boats), 3D film screening ("relief cinematography"), liquid materials for sewing clothes, etc. ^[7]. The main character was also impressed by the absence of heavy manual labor, the environmentally friendly operation of factories ("no smoke, no soot"), a clear social hierarchy, an amazingly high level of education and the availability of innovative technologies. It gave the feeling of "magical magic", based not on fantasies, but on scientific work and superhuman efforts. On Martian earth, there were things that went beyond the traditional ethics accepted on Earth: free relationships of partners in family life, androgyny in the appearance of Martians, the possibility of "reasonable" suicide and euthanasia (providing a room for a painless death), the use of violence for self-defense and educational purposes.

Based on the plot, we notice that Martian life was not devoid of threats and misfortunes, which does not quite fit into the archetypal context of the image of a place of abundance and prosperity. An important problem for the Martians was the lack of resources (radio matter reserves) necessary for interplanetary contact. Also, the surface of the Martian planet was four times smaller than the surface of the Earth, which created difficulties with the uniform settlement of Martians. However, the archetypal motif of the Promised Land, expressed in the description of the "reasonable" social structure of Mars and its scientific and technical heights, allows us to identify the image of the desired future for Russia. It should contain the idea of implementing the transition of society from a state "fragmented by internal struggle" to a state of integrity achieved through the achievement of socialist ideals ^[7].

Thus, we can identify some signs of the archetypal image of the Promised Land, which can be traced in the utopia of A.A. Bogdanov.: 1) the author presents a place that is isolated from the Earth's civilization: its existence is hidden, and representatives of the Martian planet who fly to Earth are forced to hide their true appearance; 2) in utopia, two worlds (Earth and Mars) are contrasted, where the social organization of Mars is qualitatively superior to the world order on Earth. The Martian planet is distinguished by scientific and technical leadership, the absence of coercion, arbitrariness and the presence of a higher scientific culture. Martians are more organized, practical, hardworking and reasonable, whereas the way of life of earthlings is unstable, "thorny" and "unpredictable" ^[7]; 3) the social structure of Mars is seen by the author as an image of the desired future for Russia.

Thus, in the "other worlds" presented in the Russian literary utopia (the Ophir land, the Northern Kingdom and Mars), we find an archetypal image of the Promised Land, reflecting collective ideas about a place with a perfect social structure and a high level of scientific and technological development.

3. The archetypal image of the Promised Land in the Russian philosophical utopia

The ideas of radically changing the world with the help of scientific knowledge are contained in the cosmic utopia of N.F. Fedorov, namely, in the project "resurrection of dead generations" and their resettlement to the "new earth". Rethinking the Christian "resurrection of the dead," the Russian philosopher rejects the passive expectation of an apocalyptic catastrophe and sees the main mission of society in overcoming death through active human transformative activity. Through the management of the forces of the environment (the principle of "regulation"), the transformation of physical nature (the elevation of the spirit) and, ultimately, the unification of fraternal efforts in a single goal of "resurrection of the ancestors" humanity will be able to realize the Kingdom of God on earth. Victory over death, which brings chaos, destruction and insurmountable loss, is not a metaphysical ideal, but a labor task, the fulfillment of which is the ancestral duty of the "sons of men" ^{[27, pp. 135-136]}.

In these ideas, we find a clear overlap with the archetypal image of the Promised Land. The question of finding a "new earth", which permeates N.F. Fedorov's philosophy, is understood in the context of an archetypal projection – the possibility of achieving paradise on earth. At the same time, the philosopher thinks of "paradise" as a completely real and tangible phenomenon, and it is not an otherworldly, but a transformed earthly reality that requires "turning oneself into an instrument of God" ^{[28, pp. 39-41]}. The "principle of action" is the basis of N.F. Fedorov's supramoralistic ethics and is expressed in the synthesis of theoretical and practical reason, the unity of God and man ^{[28, pp. 13-14]}. The transformation of passive "contemplation" into "action" and the activation of creativity will contribute to the fact that "all heavenly spaces and worlds" will be accessible to man ^{[28, p. 40]}. Consequently, the Promised Land or "new earth" for N.F. Fedorov is both the future transformed human world (paradise achieved), in which people have learned to recreate deceased ancestors from atoms and molecules, and the explored outer space, where man himself is its full—fledged inhabitant and at the same time ruler.

Thus, we see that the archetypal location of the earth of the future encompasses both terrestrial and super-terrestrial (cosmic) reality. Their measurements are not mystified, as is typical of the Christian tradition. Although it is impossible not to notice that all the reflections on the Promised Land for N.F. Fedorov had a pronounced mystical and religious connotation. The Russian philosopher defined "earth" as a legacy that God commanded to cultivate ^{[27, p. 102]}, and literally as a cemetery ^{[28, p. 29]}, and as the ashes of ancestors, the restoration of which would be a testimony of Easter ^{[28, p. 31-34]}. It seems to us that some of the Russian philosopher's biblical intentions were primarily aimed at understanding the "new earth" not only in terms of an economic issue (it is only a "means" of livelihood), but also from the perspective of a moral task. The earth should act as a factor in uniting the interests of people and directing the ancestral life of a person to fulfill the "universal cause" of the resurrection of bygone generations.

We also note that in anticipating the unification of humanity through love, work and brotherhood, N.F. Fedorov traces archetypal expectations of the Golden Age, which will be heralded not by a universal catastrophe, but by the enduring joy of achieving "universal resurrection" and the victory of life over death. The very question of achieving immortality, according to N.F. Fedorov, should be solved through the organization of scientific and practical work on the study of scattered particles of the ashes of the fathers. Their search not only on earth, but also in space will contribute to the gradual exploration of the near-solar space. The philosopher believes that the resurrected generations will have to explore other planets in the future. At the same time, the problem of lack of resources will be solved with the multiplication of the population. Through the transformation of the human earth into a "self-propelled rover", communication with the heavenly world will be carried out. Thus, thanks to scientific research and strong-willed efforts of a person, it is possible to open "new horizons" of existence and get closer to achieving immortality.

In the religious and philosophical conceptions of S.N. Bulgakov and N.A. Berdyaev, we can also find traces of the archetypal image of the Promised Land. At various stages of his work, Sergiy Nikolaevich Bulgakov rethinks the Christian idea of the "Millennial Kingdom" in the image of the "Millennium". The Russian philosopher tries to synthesize the positions of chiliastic optimism (the Kingdom of God on earth) and eschatological pessimism (the Kingdom of the Future Century beyond the historical process), interpreting the "Millennium" as a transcendent and supertemporal reality, acquired by man through the act of transformation of the spirit. For S.N. Bulgakov, the Millennium does not act as an earthly reality, but as a symbol of historical creativity and an act of synergy between divine and created reality. It manifests itself in the world through the theurgic process ("osophyenie"), i.e. the transformation of the realm of the "dead mechanism" (the organic world) into a divine reality ^[8]. Interestingly, this process is a recurring phenomenon.

The "Future aeon" (Millennium) is compared by S.N. Bulgakov with the "horizon line" stretching in the historical process, which is unattainable, but always sought ^[8]. This search is clearly expressed in socialist utopia and theories of social progress, but they are dominated by excessive naturalism and the desire to embody the Kingdom of the Spirit in earthly reality. The true Kingdom of God on earth must contain the indissoluble unity of God and the world, nature and super-existence, which is realized by the personal diligence of man's will and the approximation of his being to a godlike image.

The archetypal image of the Promised Land in S.N. Bulgakov's philosophy is expressed through the parallelism between the "Millennium" and the Christian "Millennial Kingdom", but with the denial of Old Testament Messianism, dreams and illusions about a heavenly city on earth (full of material prosperity), leading away from a true understanding of the supertemporal reality. The Millennium is a collective dream of achieving a kingdom "not of this world", which, following the philosophy of S.N. Bulgakov, is clothed throughout history in various chiliastic theories and sets up the expectation of a historical miracle. However, the acquisition of a "different kingdom" should not mark the triumph of earthly happiness, but a theurgic act of "outpouring divine power" on a person ^{[9, p. 312]}, in which one can experience the true bliss of being. N.F. Fedorov also tried to present this process in his project of the resurrection of the dead, but, as S.N. Bulgakov notes, with a degree of excessive mixing of the fields of economy and theurgy ^{[9, p. 314]}.

In the philosophy of Nikolai Alexandrovich Berdyaev, the image of the Millennium as the Kingdom of God is also placed in a metaphysical dimension and interpreted as a completely different being, which in its true purpose is incommensurable with the concepts of earthly goods, satiety and pleasure ^[5]. His transfer to the material plane threatens to transform the Kingdom of the Spirit into the Kingdom of Caesar, that is, into identification with a world where the thirst for power, domination and control is higher than the desire to find spiritual community. N.A. Berdyaev illustrates this process with the following example: "the communist kingdom" proclaimed the "Messianic" idea of liberation from the oppression of exploitation, but at the same time, it took the form of radical statism and totalitarianism ^[3]. The philosopher opposes the principle of "faceless collectivism" with "communotarity" – the construction of such relationships between people who are alien to violence, enslavement and anarchism. This type of community will be the epitome of the "Millennium" on earth. Thus, according to N.A. Berdyaev, despite the unattainability of the embodiment of the "Kingdom of the Spirit," its realization can be approached through the organization of such a community, which is based on the unshakable ideals of justice, love and brotherhood.

Another way by which one can achieve the Kingdom of God on earth and regain the "lost paradise" is the transformative activity of man. N.A. Berdyaev noted that the catastrophe of the fall not only became the starting point for the manifestation of the first act of human freedom, but also anticipated the realization of the loss of man's primordial purity. This gave rise to a feeling of deep guilt, a sense of abandonment and isolation from the higher world, which began to take the form of a utopia of earthly paradise ^[4]. The existential sadness and boredom that engulfs a human being, "longing for the transcendent," according to N.A. Berdyaev's position, must be overcome by a creative impulse that has an eschatological meaning. For the Russian philosopher, creativity is the main weapon against the looming abyss of alienation, the power to overcome the stagnant world and the possibility of transforming matter into some ideal form of the divine "archetype." Through creative activity, the human being itself acquires the image of God the Creator: a breakthrough into the Kingdom of the spirit, a "victory over non-existence" and the continuation of "peacemaking" are realized ^[4].

Thus, the archetypal image of the Promised Land in N.A. Berdyaev's philosophy is revealed through the idea of the Kingdom of the Spirit as an unattainable reality that can be touched through an act of human creativity and the organization of a communal community. The existential longing for the "upper world", ontologically rooted in man, turns him to the eternal search for the Promised Land — a place that lies beyond good and evil.

Conclusion

In a broad sense, the archetypal image of the Promised Land in the Russian utopia translates various collective aspirations to find a place or state in which the best social order will be achieved. It functions in literary and philosophical utopia as a stable motif that goes back to the experience of "paradise lost" and the eternal search for a place to restore lost integrity. This place should correspond to a person's hopes and hopes for a happy life, not only in metaphysical, but also in actual reality. Analyzing various stories about the "unknown city", it is possible to identify stable components that form the semantic core of the archetypal image of the Promised Land.: 1) the search for or discovery of another / mysterious place; 2) isolation from reality; 3) non-involvement in evil and troubles; 4) the presence of positive expectations and an illustration of a life filled with benefits; 5) in some cases, the presence of fantastic descriptions.

Turning to the utopias of M.M. Shcherbatov, V.F. Odoevsky, N.F. Fedorov, S.N. Bulgakov, N.A. Berdyaev and A.A. Bogdanov, we see that the archetypal image of the Promised Land can be traced through the schematic portraits of "unprecedented" places described by the authors, which are an example of an optimal world order. In addition to representing collective hopes, in the utopias of M.M. Shcherbatov, V.F. Odoevsky and A.A. Bogdanov, this image also indicates the space of unfolding events: "The Land of Ophir", "The Northern Kingdom", "Mars". Being the starting points of the storylines, the worlds depicted by the authors create a functional field, outlining the clear boundaries of the narrative story and defining the spatial and temporal localization of the utopian image. In the philosophical utopias of N.F. Fedorov, S.N. Bulgakov and N.A. Berdyaev, the image of the Promised Land appears through descriptions of the "New Earth" (outer space), "Millennium", "Kingdom of the Spirit", which reflect the hope for the transformation of the whole world (resurrection of the dead, transfiguration of the spirit), its perfect a state in the future that is close to the divine superreality.

Thus, we see that social hopes for finding an "extraordinary" place are embodied in models rooted in the layers of the collective unconscious, and the search for a new order returns seekers to unchanging thought patterns. Archetypal structures of consciousness contribute to the ordering of goals and expectations of society, bringing elements of certainty and concreteness to the ideas of the long term. As we have seen, the archetypal image of the Promised Land in the Russian utopia contains positive expectations and reflects, through descriptions of various places, the range of possibilities for the coincidence of collective hopes with reality.