In Beethoven last sonata's arietta, the variations starting at bar 33 seems to be clearly a reference to the contrapunctus 2 from die Kunst der fuge. Since as well Beethoven seems to attempt to do both a conclusion of what a sonata can be, a synthesis of the state of the art, involving fugue-like, as well as an attempt to use the sonata form as well as not do a sonata: the Op. 111 is not starting nor ending, as well as trying to reconcile extremes, opposites.
Is there any actual strong element from analysis and history of writing that supports such idea aside of the obvious use of the rythm and the accents ?
For instance, I see a use of a signature in the beginning of the variation (blue point), which is like the beginning of the rythmed section of contrapunctus 2, with double mirror of notes (vertical and horizontal or reverse in time, reverse in pitch, the rythm is conserved), also referenced with a blue point. Both are coming back many times all along each variation.
I'm looking for any other possible references, from analysis, logic, perception, esthetics, history.