摘要： 19世纪在欧洲发端的“贝多芬神话”，令人们将这位作曲家及其音乐奉为超越民族、阶级与性别的普适象征。两次世界大战的冲击与欧洲思想场域的裂变，促使这一神话在文学接受史中发生深刻嬗变。以20世纪上半叶英国文坛为例，丽贝卡·韦斯特、E. M.福斯特与弗吉尼亚·伍尔夫等作家沿袭了既有的神话叙事，更从民族、阶级与性别三重维度对其进行了系统性的解构与重塑。以这一文学重写的历史脉络为镜鉴，可重审当代中国语境下贝多芬接受中的类似张力，包括民族主义情绪与普遍性话语的拉锯、古典音乐的精英化标签与大众文化消费之间的裂隙等。对文化偶像的祛魅式重写从来不只是文学内部的修辞游戏，而是更大范围的社会结构性矛盾与价值冲突的审美表征。20世纪上半叶英国小说家对贝多芬神话的批判性重构，既是对一种特定的欧洲意识形态神话的拆解，也为当代中国文化场域中类似的文化偶像反思提供了可资参照的批判路径。

Abstract: Originating in nineteenth-century Europe, the “Beethoven Myth” enshrined the composer and his music as a universal symbol transcending nation, class, and gender. The shocks of the two World Wars and the fissuring of the European intellectual field prompted a profound evolution of this myth within the history of literary reception. Using this historical trajectory of literary rewriting as a mirror, we can re-examine similar tensions in the contemporary Chinese reception of Beethoven, including the tug-of-war between nationalist sentiments and universalist discourse, and the fissure between the elitist labeling of classical music and its consumption within mass culture. The disenchanting rewriting of cultural icons is never merely a rhetorical game internal to literature; rather, it constitutes an aesthetic representation of broader social structural contradictions and value conflicts. The critical reconstruction of the Beethoven Myth by early twentieth-century British novelists not only dismantles a specific European ideological myth but also provides a referential critical pathway for reflecting upon analogous cultural icons within the contemporary Chinese cultural field.

Key words: Beethoven Myth, disenchantment, British fiction, contemporary Chinese culture