The Managed Heart: Commercialization of Human Feelingby Arlie Russell Hochschild
In private life, we try to induce or suppress love, envy, and anger through deep acting or "emotion work," just as we manage our outer expressions of feeling through surface acting. In trying to bridge a gap between what we feel and what we "ought" to feel, we take guidance from "feeling rules" about what is owing to others in a given situation. Based on our private mutual understandings of feeling rules, we make a "gift exchange" of acts of emotion management. We bow to each other not simply from the waist, but from the heart.
But what occurs when emotion work, feeling rules, and the gift of exchange are introduced into the public world of work? In search of the answer, Arlie Russell Hochschild closely examines two groups of public-contact workers: flight attendants and bill collectors. The flight attendant’s job is to deliver a service and create further demand for it, to enhance the status of the customer and be "nicer than natural." The bill collector’s job is to collect on the service, and if necessary, to deflate the status of the customer by being "nastier than natural." Between these extremes, roughly one-third of American men and one-half of American women hold jobs that call for substantial emotional labor. In many of these jobs, they are trained to accept feeling rules and techniques of emotion management that serve the company’s commercial purpose.
Just as we have seldom recognized or understood emotional labor, we have not appreciated its cost to those who do it for a living. Like a physical laborer who becomes estranged from what he or she makes, an emotional laborer, such as a flight attendant, can become estranged not only from her own expressions of feeling (her smile is not "her" smile), but also from what she actually feels (her managed friendliness). This estrangement, though a valuable defense against stress, is also an important occupational hazard, because it is through our feelings that we are connected with those around us.
On the basis of this book, Hochschild was featured in Key Sociological Thinkers, edited by Rob Stones. This book was also the winner of the Charles Cooley Award in 1983, awarded by the American Sociological Association and received an honorable mention for the C. Wright Mills Award.
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The Managed Heart
Commercialization of Human Feeling
By ARLIE RUSSELL HOCHSCHILD
UNIVERSITY OF CALIFORNIA PRESSCopyright © 2003 The Regents of the University of California
All rights reserved.
EXPLORING THE MANAGED HEART
The one area of her occupational life in which she might be "free to act" the area of her own personality, must now also be managed, must become the alert yet obsequious instrument by which goods are distributed.
—C. Wright Mills
In a section in Das Kapital entitled "The Working Day" Karl Marx examines depositions submitted in 1863 to the Children's Employment Commission in England. One deposition was given by the mother of a child laborer in a wallpaper factory: "When he was seven years old I used to carry him [to work] on my back to and fro through the snow, and he used to work 16 hours a day.... I have often knelt down to feed him, as he stood by the machine, for he could not leave it or stop." Fed meals as he worked, as a steam engine is fed coal and water, this child was "an instrument of labor." Marx questioned how many hours a day it was fair to use a human being as an instrument, and how much pay for being an instrument was fair, considering the profits that factory owners made. But he was also concerned with something he thought more fundamental: the human cost of becoming an "instrument of labor" at all.
On another continent 117 years later, a twenty-year-old flight attendant trainee sat with 122 others listening to a pilot speak in the auditorium of the Delta Airlines Stewardess Training Center. Even by modern American standards, and certainly by standards for women's work, she had landed an excellent job. The 1980 pay scale began at $850 a month for the first six months and would increase within seven years to about $20,000 a year. Health and accident insurance is provided, and the hours are good.
The young trainee sitting next to me wrote on her notepad, "Important to smile. Don't forget smile." The admonition came from the speaker in the front of the room, a crew-cut pilot in his early fifties, speaking in a Southern drawl: "Now girls, I want you to go out there and really smile. Your smile is your biggest asset. I want you to go out there and use it. Smile. Really smile. Really lay it on."
The pilot spoke of the smile as the flight attendant's asset. But as novices like the one next to me move through training, the value of a personal smile is groomed to reflect the company's disposition — its confidence that its planes will not crash, its reassurance that departures and arrivals will be on time, its welcome and its invitation to return. Trainers take it as their job to attach to the trainee's smile an attitude, a viewpoint, a rhythm of feeling that is, as they often say, "professional." This deeper extension of the professional smile is not always easy to retract at the end of the workday, as one worker in her first year at World Airways noted: "Sometimes I come off a long trip in a state of utter exhaustion, but I find I can't relax. I giggle a lot, I chatter, I call friends. It's as if I can't release myself from an artificially created elation that kept me 'up' on the trip. I hope to be able to come down from it better as I get better at the job."
As the PSA jingle says, "Our smiles are not just painted on." Our flight attendants' smiles, the company emphasizes, will be more human than the phony smiles you're resigned to seeing on people who are paid to smile. There is a smilelike strip of paint on the nose of each PSA plane. Indeed, the plane and the flight attendant advertise each other. The radio advertisement goes on to promise not just smiles and service but a travel experience of real happiness and calm. Seen in one way, this is no more than delivering a service. Seen in another, it estranges workers from their own smiles and convinces customers that on-the-job behavior is calculated. Now that advertisements, training, notions of professionalism, and dollar bills have intervened between the smiler and the smiled upon, it takes an extra effort to imagine that spontaneous warmth can exist in uniform — because companies now advertise spontaneous warmth, too.
At first glance, it might seem that the circumstances of the nineteenth-century factory child and the twentieth-century flight attendant could not be more different. To the boy's mother, to Marx, to the members of the Children's Employment Commission, perhaps to the manager of the wallpaper factory, and almost certainly to the contemporary reader, the boy was a victim, even a symbol, of the brutalizing conditions of his time. We might imagine that he had an emotional half-life, conscious of little more than fatigue, hunger, and boredom. On the other hand, the flight attendant enjoys the upper-class freedom to travel, and she participates in the glamour she creates for others. She is the envy of clerks in duller, less well-paid jobs.
But a close examination of the differences between the two can lead us to some unexpected common ground. On the surface there is a difference in how we know what labor actually produces. How could the worker in the wallpaper factory tell when his job was done? Count the rolls of wallpaper; a good has been produced. How can the flight attendant tell when her job is done? A service has been produced; the customer seems content. In the case of the flight attendant, the emotional style of offering the service is part of the service itself, in a way that loving or hating wallpaper is not a part of producing wallpaper. Seeming to "love the job" becomes part of the job; and actually trying to love it, and to enjoy the customers, helps the worker in this effort.
In processing people, the product is a state of mind. Like firms in other industries, airline companies are ranked according to the quality of service their personnel offer. Egon Ronay's yearly Lucas Guide offers such a ranking; besides being sold in airports and drugstores and reported in newspapers, it is cited in management memoranda and passed down to those who train and supervise flight attendants. Because it influences consumers, airline companies use it in setting their criteria for successful job performance by a flight attendant. In 1980 the Lucas Guide ranked Delta Airlines first in service out of fourteen airlines that fly regularly between the United States and both Canada and the British Isles. Its report on Delta included passages like this:
[Drinks were served] not only with a smile but with concerned enquiry such as, "Anything else I can get you, madam?" The atmosphere was that of a civilized party — with the passengers, in response, behaving like civilized guests.... Once or twice our inspectors tested stewardesses by being deliberately exacting, but they were never roused, and at the end of the flight they lined up to say farewell with undiminished brightness....
[Passengers are] quick to detect strained or forced smiles, and they come aboard wanting to enjoy the flight. One of us looked forward to his next trip on Delta "because it's fun." Surely that is how passengers ought to feel."
The work done by the boy in the wallpaper factory called for a coordination of mind and arm, mind and finger, and mind and shoulder. We refer to it simply as physical labor. The flight attendant does physical labor when she pushes heavy meal carts through the aisles, and she does mental work when she prepares for and actually organizes emergency landings and evacuations. But in the course of doing this physical and mental labor, she is also doing something more, something I define as emotional labor. This labor requires one to induce or suppress feeling in order to sustain the outward countenance that produces the proper state of mind in others — in this case, the sense of being cared for in a convivial and safe place. This kind of labor calls for a coordination of mind and feeling, and it sometimes draws on a source of self that we honor as deep and integral to our individuality.
Beneath the difference between physical and emotional labor there lies a similarity in the possible cost of doing the work: the worker can become estranged or alienated from an aspect of self — either the body or the margins of the soul — that is used to do the work. The factory boy's arm functioned like a piece of machinery used to produce wallpaper. His employer, regarding that arm as an instrument, claimed control over its speed and motions. In this situation, what was the relation between the boy's arm and his mind? Was his arm in any meaningful sense his own?
This is an old issue, but as the comparison with airline attendants suggests, it is still very much alive. If we can become alienated from goods in a goods-producing society, we can become alienated from service in a service-producing society. This is what C. Wright Mills, one of our keenest social observers, meant when he wrote in 1956, "We need to characterize American society of the mid-twentieth century in more psychological terms, for now the problems that concern us most border on the psychiatric."
When she came off the job, what relation had the flight attendant to the "artificial elation" she had induced on the job? In what sense was it her own elation on the job? The company lays claim not simply to her physical motions — how she handles food trays — but to her emotional actions but to her emotional actions and the way they show in the ease of a smile. The workers I talked to often spoke of their smiles as being on them but not of them. They were seen as an extension of the make-up, the uniform, the recorded music, the soothing pastel colors of the airplane decor, and the daytime drinks, which taken together orchestrate the mood of the passengers. The final commodity is not a certain number of smiles to be counted like rolls of wallpaper. For the flight attendant, the smiles are a part of her work, a part that requires her to coordinate self and feeling so that the work seems to be effortless. To show that the enjoyment takes effort is to do the job poorly. Similarly, part of the job is to disguise fatigue and irritation, for otherwise the labor would show in an unseemly way, and the product — passenger contentment — would be damaged.* Because it is easier to disguise fatigue and irritation if they can be banished altogether, at least for brief periods, this feat calls for emotional labor.
The reason for comparing these dissimilar jobs is that the modern assembly-line worker has for some time been an outmoded symbol of modern industrial labor; fewer than 6 percent of workers now work on assembly lines. Another kind of labor has now come into symbolic prominence — the voice-to-voice or face-to-face delivery of service — and the flight attendant is an appropriate model for it. There have always been public-service jobs, of course; what is new is that they are now socially engineered and thoroughly organized from the top. Though the flight attendant's job is no worse and in many ways better than other service jobs, it makes the worker more vulnerable to the social engineering of her emotional labor and reduces her control over that labor. Her problems, therefore, may be a sign of what is to come in other such jobs.
Emotional labor is potentially good. No customer wants to deal with a surly waitress, a crabby bank clerk, or a flight attendant who avoids eye contact in order to avoid getting a request. Lapses in courtesy by those paid to be courteous are very real and fairly common. What they show us is how fragile public civility really is. We are brought back to the question of what the social carpet actually consists of and what it requires of those who are supposed to keep it beautiful. The laggards and sluff-offs of emotional labor return us to the basic questions. What is emotional labor? What do we do when we manage emotion? What, in fact, is emotion? What are the costs and benefits of managing emotion, in private life and at work?
THE PRIVATE AND PUBLIC FACES OF AN EMOTIONAL SYSTEM
Our search for answers to these questions leads to three separate but equally relevant discourses: one concerning labor, one concerning display, and one concerning emotion.
Those who discuss labor often comment that nowadays most jobs call for a capacity to deal with people rather than with things, for more interpersonal skills and fewer mechanical skills. In The Coming of Post-Industrial Society (1973), Daniel Bell argues that the growth of the service sector means that "communication" and "encounter" — "the response of ego to alter and back" — is the central work relationship today. As he puts it, "The fact that individuals now talk to other individuals, rather than interact with a machine, is the fundamental fact about work in the post-industrial society." Critics of labor studies, such as Harry Braverman in Labor and Monopoly Capital (1974), point out a continual subdivision of work in many branches of the economy. Complex tasks in which a craftsman used to take pride are divided into simpler, more repetitive segments, each more boring and less well paid than the original job. Work is deskilled and the worker belittled. But celebrants and critics alike have not inspected at close hand or with a social-psychological eye what it is that "people jobs" actually require of workers. They have not inquired into the actual nature of this labor. Some do not know exactly what, in the case of emotional labor, becomes deskilled.
A second discourse, closer to the person and more remote from the overall organization of work, concerns the display of feeling. The works of Erving Goffman introduce us to the many minor traffic rules of face-to-face interaction, as they emerge at a card game, in an elevator, on the street, or at the dining table of an insane asylum. He prevents us from dismissing the small as trivial by showing how small rules, transgressions, and punishments add up to form the longer strips of experience we call "work." At the same time, it is hard to use Goffman's focus to explain why companies train flight attendants in smiling, or how emotional tone is supervised, or what profit is ultimately tied to emotional labor. It is hard, in other words, to draw on this discourse alone and see how "display work" fits into the larger scheme of things.
The third discourse takes place in a quiet side street of American social science; it deals with the timeless issues of what an emotion is and how we can manage it. The answers offered by various theorists are reviewed in Appendix A. My own best attempts to answer the questions most pertinent to this book are woven into the exposition in Chapters Two and Three, where they form a foundation for the rest.
To uncover the heart of emotional labor, to understand what it takes to do it and what it does to people, I have drawn on elements from all three discourses. Certain events in economic history cannot be fully understood unless we pay attention to the filigreed patterns of feeling and their management because the details of these patterns are an important part of what many men and women do for a living.
Because such different traditions are joined here, my inquiry will have a different relevance for different readers. Perhaps it will be most relevant for those who do the work it describes — the flight attendants. But most of us have jobs that require some handling of other people's feelings and our own, and in this sense we are all partly flight attendants. The secretary who creates a cheerful office that announces her company as "friendly and dependable" and her boss as "up-and-coming" the waitress or waiter who creates an "atmosphere of pleasant dining" the tour guide or hotel receptionist who makes us feel welcome, the social worker whose look of solicitous concern makes the client feel cared for, the salesman who creates the sense of a "hot commodity" the bill collector who inspires fear, the funeral parlor director who makes the bereaved feel understood, the minister who creates a sense of protective outreach but even-handed warmth — all of them must confront in some way or another the requirements of emotional labor.
Emotional labor does not observe conventional distinctions between types of jobs. By my estimate, roughly one-third of American workers today have jobs that subject them to substantial demands for emotional labor. Moreover, of all women working, roughly one-half have jobs that call for emotional labor. (See Chapter Eight and Appendix C.) Thus this inquiry has special relevance for women, and it probably also describes more of their experience. As traditionally more accomplished managers of feeling in private life, women more than men have put emotional labor on the market, and they know more about its personal costs.
This inquiry might at first seem relevant only to workers living under capitalism, but the engineering of a managed heart is not unknown to socialism; the enthusiastic "hero of labor" bears the emotional standard for the socialist state as much as the Flight Attendant of the Year does for the capitalist airline industry. Any functioning society makes effective use of its members' emotional labor. We do not think twice about the use of feeling in the theater, or in psychotherapy, or in forms of group life that we admire. It is when we come to speak of the exploitation of the bottom by the top in any society that we become morally concerned. In any system, exploitation depends on the actual distribution of many kinds of profits — money, authority, status, honor, well-being. It is not emotional labor itself, therefore, but the underlying system of recompense that raises the question of what the cost of it is.
Excerpted from The Managed Heart by ARLIE RUSSELL HOCHSCHILD. Copyright © 2003 The Regents of the University of California. Excerpted by permission of UNIVERSITY OF CALIFORNIA PRESS.
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Meet the Author
Arlie Russell Hochschild is a Professor of Sociology at the University of California, Berkeley. She is the author of three New York Times Book Review Notable Books of the Year, including The Second Shift, The Managed Heart, and The Time Bind. She has received numerous awards and grants ranging from Fulbright and Guggenheim Fellowships to a three-year research grant from the National Institute of Public Health. Her articles have appeared in Harper’s, Mother Jones, and The New York Times Magazine, among others. She lives in San Francisco with her husband, the writer Adam Hochschild; they have two sons
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