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Objective/Context: This text sets out a succinct overview of the sweep of the history of emotions and sentiments, from the decisive steps taken by Peter N. Stearns and Carol Z. Stearns in the 1980s up to some of the essential contributions made to the field by numerous academics from Latin America in subsequent moments. The fundamental goal of this exercise is to provide context for the contributions of the articles included in the current issue of Historia Crítica. Methodology: I will point out the main methods and approaches of numerous papers about the history of emotions and sentiments produced in North America and Europe. At the same time, I will inquire about the attention this field has received in Latin American historiography and present the articles of the dossier. Originality: The text condenses and compares a substantial set of historical viewpoints about emotions and sentiments, the pathways it opens to widening historical explanations and invites exploring them from Latinamerican historiography. Conclusions: The articles collected in this issue suggest the importance of continuing to move forward in the study of the history of emotions and sentiments in Latin America, given the authors of these texts prove that the weight of regimes and the signification of emotional experiences matter in the spectrum of causalities, in the decisions, and the agency of individuals and groups, in the formation of political loyalties, in power contests, in revolutions, and wars, in the representations of order and the manners in which to subvert it, but also in the elucidation of the deepest creases of the lives, feelings, and words of the societies of the past. [ABSTRACT FROM AUTHOR]

This paper provides some contributions (both methodological and empirical) by the photography in a sociological study on the urban art. It deals specifically with the graffiti and the street art. The central objective is to question how pertinent it is to use a photographic record as a tool for gathering information and carrying out a documentary analysis based on a dual action basis: on one hand, to highlight the methodological process in a research where the photograph is pivotal as a visual means, discussing critically on different views of the city. On the other hand, to provide examples on how the photography is relevant in the social universe under research, i.e., among the artists doing graffiti and street art. In these two cases, taking photographs of the works in the public space provides a double game: 1) as a tangible practice of legitimization and gaining prestige within a collective; and, 2) as a material proof for the recognition and appreciation of their artistic track record. The analytical framework includes to record in situ the produced images in different Latin American (Buenos Aires, Lima, Montevideo) and European cities (Amsterdam, Barcelona, Berlin, Lisbon, Paris, Porto). [ABSTRACT FROM AUTHOR]