Le monde de l’amphithéâtre, entre l’apparition, au IIIe s. av. J.-C., des ludi qu’il abrite à partir de la fin du IIe s. av. J.-C., et l’abandon de ce type d’édifice en tant que monument de spectacle dans lecourant du Ve s. ap. J.-C., a longtemps été perçu par l’historiographie soit comme l’excroissance monstrueuse d’une civilisation brillante, soit comme l’exemple même de la cruauté d’une société autocratique et esclavagiste. Cette image de l’arène s’appuyait en particulier sur les rites se déroulant dans les édifices dédiés aux munera décrits par les écrivains chrétiens à partir de Tertullien au IIe s. ap. J.-C. Plus tard, pour livrer une étude dépassionnée de la gladiature, Georges Ville a postulé une "laïcisation" précoce de l’institution et rejeté ainsi les textes des polémistes chrétiens dans le domaine du pur discours. La reprise attentive de l’ensemble de la documentation, tant littéraire qu’épigraphique ou iconographique permet de nuancer ces constats. Si la religion est au cœur des jeux, c’est avant tout parce que ceux-ci, non seulement, sont parfaitement intégrés à la société romaine et provinciale, mais aussi et surtout car ils sont un des lieux par excellence où est montrée l’image idéalisée de Rome, sa structure sociale, culturelle et donc religieuse. Les dieux de l’amphithéâtre sont donc avant tout les dieux de la cité, garants de sa pérennité et de son équilibre. Ils sont adorés dans les amphithéâtres par des actes publics et privés, par l’ensemble de la communauté, des groupes sociaux, ou encore des individus de toute origine. La société se soude dans ce contexte où les spectateurs forment une communauté émotionnelle, prélude à la communauté cultuelle et sociale. Les acteurs des jeux eux-mêmes ont des préférences pour des dieux censés les protéger : Diane, Hercule, Némésis, Fortune, Mars, Minerve, Vénus, Mercure, et sont acteurs des rites de la cité. Cela ne fait pas d’elles les seules divinités des arènes et tout citoyen peut également se tourner vers elles dans les sacella des amphithéâtres, généralement ouverts à tous. / The amphitheater was used as a spectacle edifice between the end of the IInd century BC, hosting the ludi that appeared during the IIIrd century BC, and the Vth century AC. It was long perceived by historiographers either as the monstrous appendix of an enlightened civilization or as an example of an autocratic and slavering society. This image of the arena was derived from the rituals taking place in the edifices dedicated to munera and described by Christian writers starting with Tertullien in the IInd century AC. Georges Ville later conducting a dispassionate study of the Gladiatura, postulated an early non-religious nature of the institution and rejected the texts written by the Christian polemists as pure discourse. The careful study of the whole literary, epigraphic and iconographic documentation allows to nuance those statements. Religion is seen as the central core of the games not only because they are perfectly integrated to the Roman and provincial society but also because they are the best place to show an idealized image of Rome with its social, cultural and de facto religious structure. The gods worshiped in the amphitheater are first and foremost those of the city that guarantee its perenniality and stability. Inside the amphitheater they receive public and private adoration from the part of the whole community, of social groups and of individuals. The audience thus becomes united creating an emotional community that will later turn into a cultural and social community. The actors of the games give preference to certain gods expected to protected them -Diana, Hercules, Nemesis, Fortuna, Mars, Minerva, Venus and Mercury- and thus become actors in the city’s rites. Other gods and goddesses can also be worshiped in the sacella of the amphitheater that are generally open to all citizens.

Partant de l’apparent conflit entre le geste rituel et l’acte musical dans la liturgie catholique, la thèse se propose de faire l’étude du munus ministeriale de la musique sacrée tel qu’il apparaît dans la constitution conciliaire de Vatican II sur la liturgie (SC 112). Le syntagme, un hapax dans l’ensemble du Concile, jamais encore appliqué à la musique et n’ayant à ce jour fait l’objet d’une étude approfondie, interroge. Il convient donc d’en explorer les éventuels antécédents historiques, d’en saisir le contexte pour mieux en appréhender la signification. La démarche proposée, à la fois proprement d’investigation historique et de réflexion théologique, suit celle de Sacrosanctum Concilium en questionnant tour à tour les Pères de l’Eglise et l’enseignement des pontifes, au rang desquels Pie X tient une place déterminante, avant de scruter l’élaboration du texte conciliaire lui-même. L’étude s’intéresse en outre à l’emploi et à la portée des munus et ministeriale dans l’ensemble des documents de Vatican II afin d’en dégager l’implication théologique pour la musique sacrée. Il apparaît que cette dernière acquiert le statut de lieu théologique fondé sur la notion de médiation et enraciné dans une succession de médiations. Par son munus ministeriale qui en fait dès lors sa spécificité, la musique sacrée participe bien d’un ordre sacramentel, à la fois expression de sa fonction mais aussi de sa charge programmatique dans le culte divin. / Starting from the apparent conflict between the ritual move and the musical act in Catholic liturgy, this thesis sets out to study the munus ministeriale of sacred music as it appears in the conciliar constitution of Vatican II (SC112). This phrase, a hapax legomenon in the whole council, which was never applied to music until then and hasn't been thoroughly studied up to now, is worth considering. That's why it would be appropriate to search for its possible historical antecedents, to grasp its context so as to better apprehend its meaning. The processes suggested here, not only a pure matter of historical investigation but also a piece of theological reflection, follow that of Sacrosanctum Concilium by questioning in turn the Church Fathers, the teaching of the Popes, among whom Pius X holds a fundamental position, before examining the elaboration of the conciliar text itself. Moreover, this study focuses on the use and import of the munus and ministeriale in all the documents from Vatican II so as to bring out their theological significance for sacred music. It appears that the latter gets the status of theological place founded on the notion of mediation, and rooted in a succession of mediations. Through its munus ministeriale which then makes it specific, sacred music really is part of a sacramental order, which expresses its function but also its programmatic role in divine cult.

Con il presente lavoro ci si pone l’obiettivo scientifico di dotare di una adeguata dogmatica giuridica quella complessa realtà che è costituita dal configurarsi delle relazioni interne al Collegio episcopale, avanzando anche nella comprensione dell’aspetto intrinsecamente comunitario dell’ufficio episcopale quale risultato del rapporto di unitaria successione all’ufficio apostolico di diritto divino. Leggendo l’appartenenza al Collegio di quei membri che lo compongono uti universi attraverso il fondamentale valore ecclesiologico che ha l’inserimento sacramentale di essi nel “simbolismo dei Dodici” (cap. I), si giunge a configurare la compagine di coloro che sono uniti nel ministero episcopale nei termini di “universitas collegialis personarum inaequali iure" (cap. III), appurando - appunto a partire dalla questione terminologica di “collegium” (cap. II) - come sia effettivamente possibile dar vita a riflessioni sempre più pregnanti sul contributo che il pensiero teologico fornisce ai fini della strutturazione anche giuridica dell’empiria interna al carattere normativo della Chiesa. Può risultare così più agevole individuare le relazioni tra quei nuclei di significato che hanno condotto, in ambito cattolico, sia ad una nuova messa a punto e valorizzazione (teorica e pratica) della dottrina della collegialità episcopale in seno al Concilio Vaticano II sia al sempre più vivace prospettarsi di interessanti orizzonti in sede di riflessione canonistica ed ecclesiologica attuale. / The present work has the scientific aim of endowing with an adequate juridical dogmatics the complex reality that is constituted by the configuration of the internal relations of the College of Bishops, advancing also in the understanding of the intrinsically communitarian aspect of the episcopal office as a result of the relationship of unitary succession to the apostolic office of divine law. By interpreting the belonging to the College of those members who make it up uti universi through the fundamental ecclesiological value of their sacramental insertion in the "symbolism of the Twelve" (chapter I), one arrives at configuring the group of those who are united in the episcopal ministry in terms of "universitas collegialis personarum inaequali iure" (chapter III), demonstrating - starting precisely from the terminological question of "collegium" (chapter II) - how it is possible to give rise to increasingly pregnant reflections on the contribution that theological thought provides for the purposes of structuring, also juridically, the empirical internal normative character of the Church. In this way, it will be easier to identify the relationships between those nuclei of meaning that have led, in the Catholic sphere, both to a new development and enhancement (theoretical and practical) of the doctrine of episcopal collegiality within the Second Vatican Council and to the increasingly lively prospect of interesting horizons in the current canonical and ecclesiological reflection.