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Le terme "gouslé" (du serbe "gusle") désigne à la fois un instrument de musique et la tradition épique des Slaves du Sud. Du fait qu'elle est restée vivante jusqu'à nos jours, cette tradition est susceptible de contribuer à la compréhension des autres épopées, en substituant son contexte aux leurs, souvent perdus ou incomplets. Je présente les gouslés, leur technique, leur histoire et leur tradition, avant de passer à une comparaison avec les chants homériques et les chansons de geste. Cette comparaison repose sur la linguistique de corpus et l'utilisation des technologies de l'information. Un corpus contenant 3.665.309 mots est établi à cette fin, dont la partie slave est rendu publique sur le site guslarskepesme.com. Tout en suivant le sillage de Milman Parry et Albert Lord, je propose un élargissement de leur concept de "formule" The term "gousle" refers to both a musical instrument and the South Slavic epic tradition. Because it has remained alive to this day, this tradition is likely to contribute to the understanding of other epics, by substituting its context for theirs, often lost or incomplete. I present the gousl', their technique, their history and tradition, before moving to a comparison with the Homeric songs and the Chansons de geste. This comparison is based on the corpus linguistics and the use of information technology. A corpus containing 3.665.309 words is established for that purpose and its Slavic part is published on the site guslarskepesme.com. While following the path traced by Milman Parry and Albert Lord, I propose broadening of their concept of "formula". I reintroduce the "cliché", a unit including the invariant as well as its variable realization, and aspiring to encompass any recurrence within the poetic language : phraseologic or other. Indeed, my thesis shows a network of links extending not only between the clichés of the same level, but also through different levels, which I explain by a theory of resonance. The correspondences integrate a typological classification: speeches, place, time, feelings... In addition to this common "morphology", I demonstrate that the three traditions, from the socio-historic point of view, share the comparable models of development. Finally, a particulary complex cliché, the device named "Slavic antithesis", is used to examine the monogenetic or polygenetic origin of correspondences
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