本文將通過分析電視劇「暗影獵手」中的馬格納斯·貝恩的性格和其（高度性化及充滿同性情慾之）同人小說，來討論陽剛性和種族政治。無論是在Cassandra Clare於2007年到2014年間創作出版的原著青年小說《骸骨之城》（The Mortal Instruments）裡，還是之後的電視節目，這位雙性戀的亞洲男性角色迅速成為粉絲的最愛，因此一系列以他為主角的新書隨之出版。雖然他在原創作品中只是一個次要的角色，但在2016年1月至2019年5月播出的影集Shadowhunters的改編中變得更加重要。然而，影集並不是原著小說的第一個視聽改編。 作為一個「隨心所欲的雙性戀」，我將馬格納斯·貝恩視為一個不受約束又矛盾的角色，因為與他人相比，他無視規則及慣例。我試圖將他定位為具有挑戰性的角色，不是因為他的酷兒陽剛性，而是因為他在西方的背景設定下，展現的亞洲陽剛酷兒反叛性。在本文中，我將馬格納斯·貝恩全球化之下的新創陽剛概念、西方媒體中亞洲男性形象的連續性，及當代西方的白人民粹主義下將非正典身分吸納的矛盾之交織處。我特別想透過以下的角度閱讀馬格納斯·貝恩：種族化之民粹主義、西方及全球的極右翼立場、酷兒性作為培力的體現及同人小說作為雌雄同體的羅曼史。 ;This thesis will discuss masculinity and race politics through the analysis of the character of Magnus Bane in the TV show Shadowhunters and in slash (sexualized and homoerotic fanfictions). Originally created by Cassandra Clare in her Young Adult novel series The Mortal Instruments and published between 2007 and 2014, the bisexual Asian male character has rapidly become a favorite among the fans of both the original novels and the TV shows, resulting in the creation of an upcoming new book series featuring him as the leading character. Although he has a minor role in the original work, his character has gained much more importance in the television adaptation Shadowhunters, broadcast from January 2016 to May 2019. As a “freewheeling bisexual”, I read Magnus Bane as an unconstrained and ambivalent character distinguished for his relative disregard for rules and conventions. I propose to situate Magnus Bane as a challenging character not because of his queer masculinity, but rather for his rebellious and anti-conformist queer portrayal of Asian masculinity in a western context. In this thesis, I situate Magnus Bane at the crossroads of a globalized renewal of concepts of masculinity, the continuity of the portrayal of Asian men in Western media, and the contradictive inclusiveness of non-normative identities in the tense contemporary context of white populism in Western societies. I especially read him through the lenses of the idea of the rise of racialized populism and the far right in the West (although it is a more global phenomenon), the embodiment of queerness as an empowering force, as well as with the reading of slash as a transformative androgynous romance.
