Political Science

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.

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.

Russian political thinker and, by his own words, geopolitician, Aleksandr Dugin, represents a comparatively new trend in the radical Russian nationalist thought. In the course of the 1990s, he introduced his own doctrine that was called Neo-Eurasianism. Despite the supposed reference to the interwar political movement of Eurasianists, Dugin's Neo-Eurasian nationalism was rooted in the political and cultural philosophy of the European New Right. Neo-Eurasianism is based on a quasi-geopolitical theory that juxtaposes the 'Atlanticist New World Order' (principally the US and the UK) against the Russia-oriented 'New Eurasian Order'. According to Dugin, the 'Atlanticist Order' is a homogenizing force that dilutes national and cultural diversity that is a core value for Eurasia. Taken for granted, Eurasia is perceived to suffer from a 'severe ethnic, biological and spiritual' crisis and is to undergo an 'organic cultural-ethnic process' under the leadership of Russia that will secure the preservation of Eurasian nations and their cultural traditions. Neo-Eurasianism, sacralized by Dugin and his followers in the form of a political religion, provides a clear break from narrow nationalism toward the New Right ethopluralist model. Many Neo-Eurasian themes find a broad response among Russian high-ranking politicians, philosophers, scores of university students, as well as numerous avant-garde artists and musicians. Already by the end of the 1990s, Neo-Eurasianism took on a respectable, academic guise and was drawn in to 'scientifically' support some anti-American and anti-British rhetoric of the Russian government.