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Resumo: Este artigo examina a posicao de Joao do Rio (1881-1921) a partir da visao que ele proprio tinha de seu oficio e de sua epoca. Baseada em cronicas extraidas dos volumes Cinematografo: (cronicas cariocas) (1909), Vida vertiginosa (1911), Psicologia urbana (1911), As religioes no Rio (1951) e A alma encantadora das ruas (1952), mostro que – em meio a uma configuracao urbana polarizada entre o utopos e o distopos –, Joao do Rio, na tentativa de apreender esses loci polarizados, aciona dois modos de apresentacao inovadores: o efemero (Baudelaire, 1988) e o fait divers (Barthes, 1970). Para definir o genero cronica, parto de Gilberto Amado (1956), Luiz Edmundo (1958) e Antonio Candido (1992). As consideracoes de Florestan Fernandes (1960), Afonso Arinos de Melo Franco (1973) e Nicolau Sevcenko (1983) sao essenciais para o entendimento do contexto historico da epoca. Palavras-chave: Joao do Rio; cronica; efemero; fait divers . Abstract: The purpose of this paper is to examine the position of Joao do Rio (1881-1921) based on the way himself viewed his work and his time. By studying the volumes Cinematographo: (cronicas cariocas) (1909), Vida vertiginosa (1911), Psicologia urbana (1911), As religioes no Rio (1951) e A alma encantadora das ruas (1952) I demonstrate that – amidst a polarized urban configuration between utopos and distopos – Joao do Rio, aiming to incorporate these polarized loci , activates two innovative modes of representation: ephemeral (Charles Baudelaire, 1988) and fait-divers (Roland Barthes, 1970). In order to situate the essay as a genre, I use, as theoretical foundation, studies by Gilberto Amado (1956), Luiz Edmundo (1958) and Antonio Candido. (1992). Writers Florestan Fernandes (1960), Afonso Arinos de Melo Franco (1973) and Nicolau Sevcenko (1983) propel a discussion on understanding the historical context of the time. Keywords: Joao do Rio; chronicle; ephemeral; fait-divers.

O efêmero e o fait divers na crônica de João do Rio