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.

从亨利•达格尔的精致绘画到霍华德•芬斯特的神圣绘画，局外人艺术家的作品已经在艺术界中获得了独特的地位。尽管局外人艺术家以缺乏正式训练和位于社会边缘著称，但现如今，他们也参与进了传统的价值、地位和金钱的网络。数年来一直沉浸在自学艺术家世界的盖瑞•阿兰•法恩向我们呈现的这部《日常天才》，是对这个网络及其如何赋予艺术品价值的卓越洞见。 法恩考虑了民间艺术、局外人艺术和自学艺术之间的区别，然后探究了这个独特市场的经济学。法恩采访了策展人、批评家，并且深入到自学艺术家的家中，描绘了对这个系统而言，“本真性”是如何关键——在这个系统中，艺术家经常是那些贫穷、年老或患有精神疾病的人，他们具有无拘无束的表现形式，且备受尊崇。法恩揭示了这个世界的内部运作机制，在其中，金钱、个性和价值深深地交织在一起。 本书的研究对象是位于艺术界边缘的非主流艺术类型，这种艺术甚至连其命名都无法统一，有人称其为“民间艺术”，也有人称其为“局外人艺术”，而作者更倾向于用“自学艺术”来形容这个类型。这是一个由本真性所主导的领域，它有其独特的市场经济规律，以及完整的社会运作机制。

在1923—1953年这段乡村音乐发展史的重要时期，乡村音乐完成了自身的工业化进程，并将“本真性”确立为首要特征。彼得森透过艺术社会学的视角，深入剖析了“本真性”的建构本质，揭示出看似高于生活的艺术趣味，实际上也是通过广播、电影、巡演、展销会等日常途径，由普罗大众参与塑造的。 此外，书中还记录了乡村音乐的诸多重要人物及其活动：通过选秀活动红遍全国的约翰·卡森，专注走“视觉系”路线的吉米·罗杰斯，热衷于集体“角色扮演”的《大奥普里》团队，用生命在诠释“本真性”的汉克·威廉斯……他们身上呈现的，是那个时代自由不羁的开创精神。 ★ 独特的艺术社学会视角，透过行业机制审视音乐风格的社会成因 ★ 诸多重要人物粉墨登场，生动再现乡村音乐的“黄金时代” 【媒体评价】 [彼得森]重新赋予了乡村音乐趣味性、多样性和可能性，这是许多单纯的爱好者（和表演者）所错过的东西。就像巴克·欧文斯一样，彼得森很清楚，没有什么比“表演出自然而然”更难的冒险或挑战了。 ——肯·埃默森，《洛杉矶时报书评》 [彼得森]详细研究了这片迄今为止未被开垦的领域，这本颇具启发性的书关注的是乡村音乐的基质：它的本真性。 ——切特·弗利波，《布告板》 本书引人入胜地讲述了音乐工业实际上是如何创造并发展了乡村音乐，以及这种音乐体裁自此是如何进入一个不断自我更新的历程的。 ——吉姆·麦库尔，《国际乡村音乐》 《创造乡村音乐》是一部文化社学会的杰作，它的作者是令这个领域焕发新生的重要先驱。 ——保罗·迪马乔，普林斯顿大学