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                <title xml:lang="en">In the Margins of British Orientalism: Journeys to Persia and Kurdistan (1891) by Isabella Bird</title>
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                <term xml:lang="fr">voyageuse</term>
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              <p>Isabella Bird (1831–1904), explorer, geographer, naturalist, writer and photographer, published Journeys in Persia and Kurdistan in 1891. The experience of travelling was first forced upon her by her state of health. A solitary traveller, she had already published five travelogues. This sixth story is a reflection on the affirmation of identity. Her complex position—juggling with, on the one hand, the Orientalist ideology of her time and, on the other, her commitment to the Kurds, transgressing gender boundaries and adopting modes of representation that were sometimes exotic, sometimes imperialist—also enabled her to assert a voice. This Victorian traveller reveals a triple marginality: that of a literary genre, that of a woman and that of a country (Persia). She became a writer thanks to a genre on the fringes of literature (correspondence and travel writing), to which she added the status of photographer and gained renown during her lifetime. By turning her attention to Persia, she placed herself on the margins of the British Empire, at the heart of the Great Strategic Game between Russia and the United Kingdom. Journeys in Persia and Kurdistan reflects the ambiguities of a woman’s gaze, which mixed politics with adventure, and whose discourse was at once concerned with imperialist power and the search for a status under construction.</p>
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              <p>Isabella Bird (1831-1904), exploratrice, géographe, naturaliste, écrivaine et photographe, publia en 1891, Journeys in Persia and Kurdistan. L’expérience du voyage lui fut tout d’abord imposée par son état de santé. Voyageuse solitaire, elle avait déjà publié cinq récits de voyage. Ce sixième récit offre une réflexion sur l’affirmation d’une identité. Sa position complexe — jonglant avec d’un côté l’idéologie orientaliste de son époque et d’un autre, son engagement pour les Kurdes, transgressant les frontières genrées, adoptant des modes de représentation tantôt exotiques, tantôt impérialistes — lui permet également d’affirmer une voix. Cette voyageuse victorienne donne à voir une triple marginalité : celle d’un genre littéraire, celle d’une femme et celle d’un pays (la Perse). Devenue écrivaine grâce à un genre aux marges de la littérature (la correspondance et le récit de voyage), elle y ajoute le statut de photographe et acquiert une renommée de son vivant. En se tournant vers la Perse, elle se place dans les marges de l’empire britannique, au cœur du Grand Jeu stratégique entre la Russie et le Royaume-Uni. Journeys in Persia and Kurdistan reflète les ambiguïtés d’un regard de femme qui mêle la politique à l’aventure et dont le discours s’apparente à la fois au pouvoir impérialiste et à la recherche d’un statut en construction.</p>
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