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Smiling as Labour in the Work of Jean Rhys

Par Emily Ridge : Lecturer - National University of Ireland Galway
Publié par Marion Coste le 21/02/2025

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[Conférence] In this talk, Emily Ridge focuses on the intersections between emotion and work. She defines smiling as a mode of labour in and of itself and analyses different forms of emotional labour in Jean Rhys's work.

This lecture was organised by Vanessa Guignery as part of a research residency at IHRIM (ENS de Lyon).

'Cheer up.' 'Look gay.' 'Don't look so sad.' 'Smile please.' Jean Rhys's major female characters are frequently shown to be subject to such demands and admonitions. Just as frequently, they struggle or fail to respond to them. These characters simply cannot look happy when they don't feel happy and are, moreover, deeply and often aggressively suspicious of the smiling faces of others. Using Arlie Russell Hochschild's concept of 'emotional labour' as a starting point, this paper will argue that the marginalised women that populate Rhys's novels and stories are alienated, in part, because they are unable to regulate their emotions effectively or in ways that might allot them any kind of social or financial security. What happens, Hochschild asks in The Managed Heart (1983), when the 'private management of feeling is socially engineered and transformed into emotional labor for a wage'? This is a question that also informs Rhys's writing throughout. Like Hochschild, she shows a preoccupation with the implications and effects of attaching emotion to money, of turning feeling into a commodity, both in the contexts of interpersonal relationships and the various forms of low-paid private or public-facing service work that her characters are so often shown to undertake. With particular attention to Smile PleaseVoyage in the Dark and a selection of stories, I will suggest that failures of emotional labour are central to Rhys's aesthetic, both in terms of subject and theme and in terms of her own authenticity as a writer. Above all, I will show that her representations of the nuances and contours of this experience of failure are shaped by her status as a displaced migrant woman writer.

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video_chapitree  
Introduction 00:00
  • Definitions of smile
02:50
  • The demand to smile
04:22

1. Smilling as a work of labour

  • The ending of Modern Times (Charlie Chaplin, 1936)
07:15
  • "Smile and bear it": Jean Rhys's Till September Petronella (1960)
09:34
  • Failures of emotional labour in Rhys's work
14:19
  • The commodification of feelings: Jean Rhys's taxonomy of smiles
17:36
  • The performative dimension of emotions
25:13
2. Smiling in service work and sex work in Voyage in the Dark (1934) 28:37
  • White Collar: The American Middle Classes, Wright Mills (1951)
32:47
  • Francine's domestic work
37:50
  • Emotional labour as mode of resistance
41:25
  • Laurie and Ethel's emotional labour and sex work
45:16
  • "Melancholic Migrants", Sara Ahmed (2010): the unhappiness of colonial histories
49:00
3. Jean Rhys's experience as a writer: insisting on unvarnished accuracy and authenticity 53:15
  • Smiling as a mode of suppression of authenticity
55:38
Conclusion 1:00:50

 

Charlie Chaplin's Modern Times, final scene (1936). Source: Youtube.

 

Pour citer cette ressource :

Emily Ridge, Smiling as Labour in the Work of Jean Rhys, La Clé des Langues [en ligne], Lyon, ENS de LYON/DGESCO (ISSN 2107-7029), février 2025. Consulté le 22/02/2025. URL: https://cle.ens-lyon.fr/anglais/litterature/litterature-postcoloniale/smiling-as-labour-in-the-work-of-jean-rhys

Mot clé

  • Jean Rhys
  • personnage féminin
  • female character
  • travail émotionnel
  • emotional labour