Your best guide would actually be to listen to recordings & read the writings of acknowledged Beethoven specialists. That said, analysing the lines in the right hand provides some insight.
If we remove the octave transpositions & the rests we have this progression in the 4 bars you provided:
So you can see from what's happening in the counterpoint, both the A in 2nd & 3rd bars and the B♮ in the 3rd & 4th bars should be tied: the A being a suspended 7th on the prevailing B-dim harmony, delaying the onset of E-maj to the 4th bar. So re-striking the notes in both instances would undermine the harmony & counterpoint in the passage.
I listened to a few recordings & concentrated on the passage in question.
- Schnabel: doesn't re-strike the A & B♮ (tie)
- Brendel: doesn't re-strike the A & B♮ (tie)
- Barenboim: doesn't re-strike the A & B♮ (tie)
- Pollini: doesn't re-strike the A & B♮ (tie)
- Grimaud: re-strikes the A & B♮ (slur)
So, in my non-representative sample the majority interpret the A-A & B♮-B♮ joins as ties.
Also, another clue is provided by the editor in the choice of rendering the A against B♮ in the 3rd bar in 2 voices. Some other editions have all of the chords in a single voice through this passage, others are rendered as yours.