88 САКРАЛЬНОЕ В КИНОИСКУССТВЕ АНДРЕЯ ТАРКОВСКОГО. АРХЕТИП ДОМА Ф  «Т. Ф  . П    А Т» (Б, 2004) Елена Дульгеру Б А      (    )   А Т     ,    ,   -        -    . Д     -            ,        Б. Ключевые слова: ,  ,  - ,    , oe ,  . THE SACRED IN THE FILMS OF ANDREI TARKOVSKY. THE ARCHETYPE OF THE HOUSE A fragment of the book “Tarkovsky. Film as a Prayer. A Poetics of the Sacred in Andrei Tarkovsky’s cinema” Elena Dulgheru Bucharest The study defines the archetypal meaning of the house (in the classical and the Jungian sense), as an architectural object with aesthetic, psychological and narrative functions, in the scenographies of Andrei Tarkovsky, and oversees the functioning mode and the semantic enrichment of this archetype in the economy of the films. These functions of the house are put in relation with the narrative functions of the main characters, in order to reveal the fundamental role of the house as a temple or a space consecrated to the meeting and communicating between man and God. Keywords: archetype; sacred space; dome-shaped space; space open to infinity; thaboric space; house of the soul.