Mediatization, polarization, and intolerance (between environments, media, and circulation)

Mediatization of collective emotions 113 tion and face-to-face encounters still have for people. It is also the case of communal meetings. In them, the collective singing and emotional discourse of a preacher is capable of raising spir- its or even tormenting them with fear and anger. Among the at- tributes of the voice is its ability to dramatize injustice, mobilize hope, release stress, generate emotional energy, affirm identity, and express moral indignation. Sociability teaches the person how to infer a meaning from this variation of tone, including surprise, irony, anger, and fear. The concern with this theme is typical of sacred songs. This way of singing prayer has been consolidated as an efficient tool for social stimulation. Such a result is called, in the Christian tra- dition, adoration , a theme referred to in the previous stage of my speech. Ultimately, the melody of a speech is one of the ways the person introduces himself/herself to the interlocutor. Also, it serves as a link for the integration of a certain community and the expression of a particular identity or position, which is no- table in the noisy dissident anti-social manifestations. The relationship between the prosodic effects of dis- courses and collective emotions is a relevant topic, considering the impact that some political speeches have on mass audiences. The relevance, in this case, is not what is said, but how one says it. This fact explains why the voice of a religious preacher is eas- ily distinguished from that of a sports narrator. The mediatiza- tion of voices works because, in this case, its effect is also subtle. An empirical study shows that, in general, political voic- es, both coming from the right and the left, are similar. They are welcoming. Of course, there are abrasive voices that, with their bellicose tone, crave to produce another type of emotional effect on the audience. There are angry voices like Maduro’s, as there are dark voices like that of Uruguayan Tabaré Vázquez, melan- cholic like Nestor Kirchner’s, and floating ones like Churchill’s. The emotions derived from the tone of the pronounce- ments are unconsciously decoded by the listeners between 300 and 600 milliseconds, an effect that also occurs with the hear- ing of musical tracks of films. The emotions generated by this variable relationship between expression and content, between what is said and how it is said, can also be detected in the labo-