I have a number of free e-prints of my articles published with Routledge. Here they are:
"The Palingenetic Thrust of Russian Neo-Eurasianism: Ideas of Rebirth in Aleksandr Dugin's Worldview", Totalitarian Movements and Political Religions, Vol. 9, No. 4 (2008), pp. 491-506. E-print link.
Applying Roger Griffin’s methodological approach to generic fascism, the article analyses individual – socio‐political, cultural and esoteric – themes within Dugin’s doctrine, treating them as elements of a larger integral concept of rebirth that constitutes the core of Neo‐Eurasianism. The article highlights the highly syncretic nature of this ideological core, a direct result of the ‘mazeway resynthesis’ that has conditioned Dugin’s worldview. It argues that this process has been necessitated by his self‐appointed task of envisioning a new stage of history beyond Russia’s present decadent and ‘liminoid’ situation, one that he sees only coming about as the result of a ‘geopolitical revolution’. The variant of Eurasionism that results has the function of a political religion containing a powerful palingenetic thrust towards a new Russia and new West. In conclusion, it is suggested that the new order aspired to by Dugin could only be realised by establishing a totalitarian regime.
"Apoliteic Music: Neo-Folk, Martial Industrial and 'Metapolitical Fascism'", Patterns of Prejudice, Vol. 43, No. 5 (2009), pp. 431-457. Free access at the moment. Or try this E-print link, if the previous link does not work.
Shekhovtsov suggests that there are two types of radical right-wing music that are cultural reflections of the two different political strategies that fascism was forced to adopt in the ‘hostile’ conditions of the post-war period. While White Noise music is explicitly designed to inspire racially or politically motivated violence and is seen as part and parcel of the revolutionary ultra-nationalist subculture, he suggests that ‘metapolitical fascism’ has its own cultural reflection in the domain of sound, namely, apoliteic music. This is a type of music whose ideological message contains obvious or veiled references to the core elements of fascism but is simultaneously detached from any practical attempts to realize these elements through political activity. Apoliteic music neither promotes outright violence nor is publicly related to the activities of radical right-wing political organizations or parties. Nor can it be seen as a means of direct recruitment to any political tendency. Shekhovtsov's article focuses on this type of music, and the thesis is tested by examining bands and artists that work in such musical genres as Neo-Folk and Martial Industrial, whose roots lie in cultural revolutionary and national folk traditions.
"The Creeping Resurgence of the Ukrainian Radical Right? The Case of the Freedom Party", Europe-Asia Studies, Vol. 63, No. 2 (2011), pp. 203-228. E-print link.
In the context of the rise of radical right-wing parties in most European countries, the enduring absence of a far-right group in the Ukrainian parliament seems paradoxical. However, recent developments, namely the victory of the far-right ‘Freedom’ Party (All-Ukrainian Union ‘Freedom’, Vseukrayins'ke ob”ednannya ‘Svoboda’) in the 2009 Ternopil regional elections seems to attest to the gradual revival of the radical right in Ukraine. The article considers the far-right legacy in Ukraine and the reasons why it failed in the post-Soviet period, and then focuses on the history of the Freedom Party and discusses its prospects at the national level.
"The 'Orange Revolution' and the 'Sacred' Birth of a Modern Ukrainian Nation", Nationalities Papers (2013). E-print link.
The article analyzes the “sacred” dimension of the Ukrainian “Orange revolution”, its festive or carnivalesque quality, and properties of a communal ritual. The author argues that Ukrainian citizens who protested against the stolen elections in Kyiv found themselves in the liminoid situation of temporary egalitarian utopianism. This situation resulted in the emergence of communitas, and engendered a powerful feeling of the birth of a civic-republican Ukrainian nation. The festive nature of the “Orange revolution”, sanctioned by the overwhelming confidence in fighting for the rightful democratic cause, reinforced the impression of renewing the society along Western liberal democratic patterns.