O amante adotado: Chiquinha e Joãozinho, composição além da música*

Abstract

This paper starts from the intergerational relationship between the composer Chiquinha Gonzaga and João Batista Fernandes Lage, her last life partner and foster child, with the attempt to investigate the symbolic negotiations managed by both before the carioca society. Afraid that this sort of attitude would endanger the prestige of a established carrer, Chiquinha Gonzaga, at the age of 52, adopted her partner, 16, now named João Batista Gonzaga. Keeping in mind the intersections between markers of differenceas gender, social class and age, this work analyses how certain social roles (the wife and the mother) define as the same time that are defined by the historic process of cronologization of life, in which can be found legitimated forms of the constitution of the body and sexuality. In this sense, Chiquinha Gonzaga and João Bastista's case is interesting for it renders problematic those constructions.

Cities, Stages and Audiences: Rio De Janeiro and São Paulo in Two Acts

“…Access to education and the arts, though limited to the home, provided 499 article | heloisa pontes and rafael do nascimento cesar her with the foundations of a social destiny in which music was a sign of class and gender distinction simultaneously (Cesar, 2015a(Cesar, , 2015b. Her experience on the piano and in musical theory -begun under the tutelage of her family and honed over her youth -and the influence on urban musical genres like polka, modinha and maxixe were considered valuable skills in the artistic world and ended up directing her towards the humorous universe of operettas and revues of the year.…”