It can be seen form the preceding discussion that each type of emotion management included in the typology has distinct characteristics. The most obvious differences are the associated motivations and the amount of available opportunity between the social and rational demands of organizational life for “spaces” to emerge. However, one similarity between all four types is the requirement for organizational actors to enact skilled performances, continually adjusting how much “emotion work” or “face work” is necessary according to the rules of the particular situation. Actors bring personal baggage when they enter an organization. A sense of self who has hopes, dreams and aspirations that cannot be completely overwritten by the disciplining demands of the organization and the project of the research should be an attempt to uncover these realities.
The social aspects of interaction will continue to be neglected; offering the necessary autonomy to workers will be seen as just too much of a risky business and attempts will continue to deprive emotion workers of their opportunity to mediate the worst excesses of the emotional labour process. Though, as the typology of workplace emotion highlights, aspiration should not be mistaken for outcome. …