This essay starts with an overview of the formulas used by Stieg Larsson in his Millennium trilogy, namely crime fiction, travel narratives and gothic plots. I then focus on two main characters Mikael Blomkvist and Lisbeth Salander, and argue that Blomkvist, a modern Theseus, leads us to the labyrinth of the globalized world, while the series" protagonist, Lisbeth Salander, modeled on the Amazon, is an example of the empowerment of women in crime fiction by playing the role of the "tough guy"

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... tective, while also personifying the popular roles of the victim, the outcast and the avenger. Dialogues with Greek tragedy will also be discussed, namely Salander"s struggles with strong father figures. Resumé : Cette é tude commence par un aperç u des formules employé es par Stieg Larsson dans sa trilogie Millennium, composé e de fiction policiè re, de ré cits de voyage et d'intrigues gothiques. Elle se concentre ensuite sur deux personnages principaux: Mikael Blomkvist et Lisbeth Salander. Nous dé monstrons que Blomkvist, tel un Thé sé e moderne, nous entraî ne dans le labyrinthe du monde global, tandis que l'hé roï ne des sé ries Lisbeth Salander, telle une Amazone, illustre le pouvoir confé ré aux femmes dans la fiction policiè re en jouant à la fois le rôle masculin du deté ctive coriace et le rôle populaire et fé minin de la victime, de l'exclue et de la vengeresse. Les dialogues avec la tragé die grecque sont é galement abordé s dans les combats de Salander contre des images de pè re fort. To those who have been foretelling the end of detective fiction, Stieg Larsson"s trilogy of novels known as the "Millennium series" proves that the genre is still alive, revitalized by the empowerment of women in a patriarchal society and by the belief that detective fiction has been, in the last decades, one of the main outposts of realism and social criticism in contemporary literature. Aware of the complex nature of real crimes in the modern globalised world, Larsson knows that realism and verisimilitude don"t match with the idea of a Supersleuth; therefore, as in police procedural narratives, he resorts to the collective instance of detection, articulating both legal and illegal methodologies of detection,