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espanolEste articulo parte del desdoblamiento propuesto por el critico peruano Luis Alberto Sanchez para referirse a la obra del autor peruano Abraham Valdelomar. Segun Sanchez, existieron dos vertientes: una adquirida, el dandismo; y otra congenita, que informo su literatura peruana y regional. Segun Sanchez, habria un Valdelomar verdadero y uno falso, un Valdelomar digno de entrar en el canon literario peruano se opone a un Valdelomar que no se necesitaria recordar, aquel hizo de y con su cuerpo un texto que, segun la logica de Sanchez, no valia la pena leerse dentro de su trabajo serio. Contrariamente a esta opinion, el presente articulo propone que en el caso de Valdelomar su trabajo literario no puede entenderse sin tomar en cuenta su dandismo. El articulo expone la forma en que el autor peruano, tanto en su produccion escrita como en su performatividad, construyo un marco en donde legitimar su conducta dandi. En suma, nuestra intencion es demostrar como texto escrito y accion performativa son parte de una misma obra, que incluye tambien el cuerpo del propio autor, y que conforman el marco de su dandismo. EnglishThis article starts with the idea of the splitting, proposed by the Peruvian critic Luis Alberto Sanchez to refer to the work of Peruvian author Abraham Valdelomar. According to Sanchez, there were two aspects: the first one, dandyism, was acquired; the second one was congenital, and it informed its Peruvian and regional Literature. In Sanchez’s words, there was a real and a fake Valdelomar. A Valdelomar worthy of entering the Peruvian literary canon is opposed to a Valdelomar who was not necessary to remember, who made of and with his body a text that, according to Sanchez’s logic, it was not worth reading within what can be considered his serious work. Contrary to this opinion, this paper proposes that in the case of Valdelomar, his literary work cannot be understood without taking into account his dandyism. In this way, this paper shows the way in which the Peruvian author, both in his written production as well as in his performativity, built a framework in which he was able to legitimize his dandyism. In short, our intention is to demonstrate how written text and performative action are part of the same work, which also includes the body of the author. With both elements, he made up the framework of his dandyism.

Ser es parecer o el dandismo de las formas: actitudes, autorepresentación y performatividad en Abraham Valdelomar