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Léo P. Henry, University of Toronto
After independence, national fields reorganize under three overlapping pressures: progressive post-colonial disengagement from imperial hierarchies; exposure to a global field; and the internal construction of autonomous national hierarchies of distinction. We know comparatively little about whether subfields within the national social field follow similar trajectories – or whether fields with stronger claims to autonomy, such as the art field, develop evaluative orders that diverge from the state-driven logic. \n Post-Soviet Estonia condenses all three pressures into a single rupture. The collapse of 1991 displaced Soviet consecrating hierarchies, repositioned Estonian cultural production relative to Western European and global circuits, and mobilized the art field as a site for producing national distinction. \n The analysis draws on a computational study of kunst.ee (1980–2025), the central Estonian art journal, as a discursive proxy for the art field. Shifts in evaluative categories, reference structures, and geographic orientations are traced systematically across the post-independence period — whether the field gravitates toward Moscow, Helsinki, Paris, or New York, and how this orientation correlates with the consolidation of nationally specific evaluative positions. Institutional networks, state cultural policy, and transnational circulation all bear on the field's discursive order; their combined pressure is what the movement registers. \n As for the national field, global reorientation and national alignment advance together within the estonian art field. The consolidation of nationally specific evaluative positions correlates with reorientation toward Western consecrating centers, producing a configuration in which the global and the national reinforce one another. Cultural production follows the broader trajectory of the national field.
No extended abstract or paper available
Presented in Session 136. Fields, Organizations, and Differentiation