Le Dictionnaire des hapax dans la poésie grecque archaïque, d'Homère à Eschyle vise à inventorier les hapax absolus (mots uniques) de la poésie archaïque. Chaque entrée du dictionnaire offre une traduction du lemme, son analyse morphologique et lexicale ainsi que sa situation en contexte, pour expliquer son sémantisme et son étiologie. Des remarques métriques viennent compléter ces explications. Ce dictionnaire peut servir de référence ouverte à tous ceux qui s’intéressent à la création lexicale de près ou de loin, à la fois pour des travaux stylistiques et métriques, mais aussi des travaux de traduction, de papyrologie ou d’épigraphie. Il représente un outil précieux pour favoriser la recherche sur la création lexicale pour tous les linguistes. Il peut être utile aux spécialistes de littérature dans toutes les langues car il constitue une base de travail pour une véritable réflexion sur la création poétique. Un volume de commentaire au dictionnaire, Hapax legomena dans la poésie archaïque, offre une définition précise et une réflexion sur la notion d’hapax absolu, une analyse des caractéristiques majeures de la création deshapax chez les auteurs archaïques, un inventaire thématique des principaux morphèmes préfixaux et suffixaux mais aussi des lexèmes les plus récurrents en composition. Enfin, la question de la réception des hapax en synchronie, par les spectateurs ou auditeurs anciens mais aussi par les scholiastes et lexicographes, comme en diachronie, à cause des difficultés d’interprétation de certaines leçons dans les manuscrits, est traitée. / The Dictionary of hapax legomena in early Greek poetry, from Homer to Aeschylus, aims to inventory the absolute hapax unique words) in archaic poetry. Each entry in the dictionary offers a translation of the lemma, its morphological and lexical analysis as well as its situation in context, to explain its semantics and etiology. Metric remarks complete these explanations. This dictionary can serve as an open reference for all those interested in lexical creation from near and far, both for stylistic and metrical work, but also works of translation, papyrology or epigraphy. It is a valuable tool for promoting lexical creation research for all linguists. It can be useful to literary specialists in all languages as it provides a basis for a real reflection on poetic creation. A volume of commentary on the dictionary, Hapax legomena in early poetry, offers a precise definition and a reflection about the notion of absolute hapax, an analysis of the major features of hapax creation in archaic authors, a thematic inventory of the main prefix and suffixal morphemes, but also the most recurrent lexemes in composition. Finally, the question of the reception of the hapax is treated, first in synchrony, by the spectators or listeners but also by scholiasts and lexicographers, then in diachronic, because of the difficulties of interpretation of some lessons in the manuscripts.

The following study compares and contrasts the ways three women writers craft narrative selves in their autobiographical texts. Each of the women, the Metis author Maria Campbell, the Chinese-American writer Maxine Hong Kingston, and the Irish lyric poet Eavan Boland, calls on oral techniques to write her autobiography. The study examines how each of the women draws on the oral traditions of her mother-culture, subsequently using characters from culturally distinct mythologies to express her own growth as writer. The methodologies that inform this study are a combination of postcolonial theories about identity and language, and closely related feminist theories about power relations between women and colonialism and women and patriarchal power. Structuralist and feminist theories about mythologies, as well as analysis of the psychodynamics of orality have also influenced the analysis undertaken in this thesis.<p> The research conducted provides evidence that each woman writes a narrative self structured on the framework of the heroic, but infused with culturespecific heroic characters and characteristics from the mother-culture's oral traditions. Maria Campbell's Half-Breed shows distinctly oral influences both in its narrative structure and in its characters. For example, by comparing Maria's character to Wesakaychak's character from Nehiyawak Trickster cycles and other Native North American Trickster cycles, the study shows how Campbell's character resembles the character from oral tales. The Trickster, and consequently, Maria, destabilizes boundaries and unsettles domains of knowledge, therefore, questioning colonial and patriarchal discourses and imagery. In Woman Warrior, Maxine Hong Kingston likewise battles limiting stereotypes held by both her Chinese-American community and the mainstream community she inhabits. The character Maxine imagines herself as both woman warrior and a warrior poet, characters she hears about from her mother, and in the process of chronicling her own training as a woman warrior, she also chronicles her training as a word warrior. Eavan Boland, in Object Lessons unsettles the conventions surrounding the hero-bard whose shadow falls over Irish lyric poetry. While she is marginalized in different ways than either Campbell or Kingston, she shares their desire to show women as active agents in their own lives. These writers show that foremothers exist in other storytelling traditions, even if the textual record does not reflect the influence that female storytellers have had on it. As the women (re)construct themselves in their autobiographies, they work within and against conventional Western heroics, building characters who enrich and redefine what it means to be heroic.

The following study compares and contrasts the ways three women writers craft narrative selves in their autobiographical texts. Each of the women, the Metis author Maria Campbell, the Chinese-American writer Maxine Hong Kingston, and the Irish lyric poet Eavan Boland, calls on oral techniques to write her autobiography. The study examines how each of the women draws on the oral traditions of her mother-culture, subsequently using characters from culturally distinct mythologies to express her own growth as writer. The methodologies that inform this study are a combination of postcolonial theories about identity and language, and closely related feminist theories about power relations between women and colonialism and women and patriarchal power. Structuralist and feminist theories about mythologies, as well as analysis of the psychodynamics of orality have also influenced the analysis undertaken in this thesis.<p> The research conducted provides evidence that each woman writes a narrative self structured on the framework of the heroic, but infused with culturespecific heroic characters and characteristics from the mother-culture's oral traditions. Maria Campbell's Half-Breed shows distinctly oral influences both in its narrative structure and in its characters. For example, by comparing Maria's character to Wesakaychak's character from Nehiyawak Trickster cycles and other Native North American Trickster cycles, the study shows how Campbell's character resembles the character from oral tales. The Trickster, and consequently, Maria, destabilizes boundaries and unsettles domains of knowledge, therefore, questioning colonial and patriarchal discourses and imagery. In Woman Warrior, Maxine Hong Kingston likewise battles limiting stereotypes held by both her Chinese-American community and the mainstream community she inhabits. The character Maxine imagines herself as both woman warrior and a warrior poet, characters she hears about from her mother, and in the process of chronicling her own training as a woman warrior, she also chronicles her training as a word warrior. Eavan Boland, in Object Lessons unsettles the conventions surrounding the hero-bard whose shadow falls over Irish lyric poetry. While she is marginalized in different ways than either Campbell or Kingston, she shares their desire to show women as active agents in their own lives. These writers show that foremothers exist in other storytelling traditions, even if the textual record does not reflect the influence that female storytellers have had on it. As the women (re)construct themselves in their autobiographies, they work within and against conventional Western heroics, building characters who enrich and redefine what it means to be heroic.