新时期之初，汪曾祺以重写四十年代旧作的形式，结束了其长达三十载的小说凋敝期。以汪曾祺重写即思索的自剖为依据，这种书写习惯可在一定意义上视为作家创作转向的投射，而若进一步考察汪曾祺八十年代对其解放前小说的再创作，则可更为直观地洞见作家小说创作的轨迹与因果，以及其所承接的现当代文学传统的脉络。除此之外，域外影响脉络也是关照汪曾祺创作心理转向的关键线索。以契诃夫与阿左林为代表的主要域外文化资源，自四十年代起便作用于汪曾祺的创作理念，后经历史时局、个人境遇与民间文艺实践经历的影响，作者对二者进行了取舍，又在复出后彻底倒向了契诃夫的现实主义叙事。如若跨时期重写是从八十年代向四十年代的简单勾缝，那么汪曾祺对契诃夫的接受史，则可在相当程度上修补其横跨四十余年的创作裂隙。本文在比较研究的基础之上，进一步展开了影响研究的论述。一方面，作为研究的内视角，比较研究聚焦于文本细读与新文学版本批评，在对重写文本的不同版本进行横向校读的同时，结合汪曾祺的小说创作理念，形成对作家转向脉络的动态性考察。另一方面，知人论世与契诃夫影响研究构成了研究方法的外视角。结合作家的个人际遇与彼时的时代背景，可对汪曾祺的文学实践经验与文化资源进行大致关照，进而更为精准地把握其创作转向的动因。除此之外，跨文化传播论中的激活理论同样是梳理契诃夫影响研究脉络的重要工具，其“激活—影响”机制是诠释域外文化资源如何作用于汪曾祺创作理念的底层逻辑。《故人往事·戴车匠》、《受戒》与其前作相较，均在内容性语言、短篇小说篇幅、散文化小说结构等方面无限趋近于契诃夫的创作理念，实现了作家对其曾经的现代主义意识流元素的反拨。《岁寒三友》、《职业（二）》、《异秉（二）》中非典型性情节与非公式化人物的增补，以及文本中对作者意识的刻意隐匿，也同样透露出汪曾祺关切底层平民、承担政治责任的纯粹温爱，而契诃夫的影响正是提纯的重要一环。契诃夫影响视域下的重写作品今昔对照，将汪曾祺若干个转向节点一一理清，由点及线地还原出作家的完整创作脉络。同时，二三十年代的现代抒情传统与四十年代的新文学传统，也在其个人脉络的完善中由线及面，铺陈至八十年代的大地上，生出寻根与先锋两处萌芽。至此，现代与当代的文学传统实现了接续，汪曾祺之于两个时代的中介身份也就此树立。

At the beginning of the new period, Wang Zengqi ended his thirty years of languishing period by rewriting his old novels created in the 1940s. On the basis of Wang Zengqi's self-analysis about rewriting, this writing habit can be regarded as the projection of the writer's creative turn in a certain sense, and if we further examine Wang Zengqi's re-creation of his novels written before the founding of the People's Republic of China in the 1980s, we can have a more intuitive insight into the trajectory and cause and effect of the writer's novel creation, and the vein of the modern and contemporary literary tradition that he inherited and continued. In addition, foreign influence vein is the key to witness his creation psychology to clues. The main foreign cultural resources represented by Chekhov and Azolin have been acting on Wang Zengqi's creative ideas since the 1940s. After the influence of the historical situation, personal circumstances and folk literature and art practice, the author has made a choice between the two, and completely turned to Chekhov's realistic narrative after his comeback. If the intertemporal rewriting is a simple connection from the 1980s to the 1940s, then Wang Zengqi's acceptance history of Chekhov can repair to a considerable extent his creative fissure spanning more than 40 years.On the basis of comparative study, this paper further develops the discussion of impact study. On the one hand, as an internal perspective of the study, the comparative study focuses on the close reading of the text and the criticism of the new literary version. While cross-reading the different versions of the rewritten text, combined with Wang Zengqi's novel creation concept, the dynamic investigation of the writer's turning context is formed. On the other hand, Wang Zengqi's resume study and Chekhov's influence study constitute the external perspective of research methods. If we combine the writer's personal circumstances with the context of the time, we can roughly observe Wang Zengqi's literary practice and cultural resources, and then grasp the motivation of his creation turn more accurately. In addition, integrative communication theory of cross-cultural adaptation is also an important tool to sort out the context of Chekhov's influence research, and its "activation-influence" mechanism is the underlying logic of explaining how foreign cultural resources affect Wang Zengqi's creative ideas.Compared with their previous versions, "Once Upon a Time: A Wheelwright Named Dai" and "The Love Story of a Young Monk" are infinitely close to Chekhov's creative ideas in terms of content language, short story length and structure of prose novels, and realize the writer's cleaning up of his former modernism stream of consciousness elements. In addition, the addition of non-typical plots and non-formulistic characters in "The Three Friends of Winter ", "Occupation (2)" and "Special Gift (2)", as well as the intentional concealment of the author's consciousness in the text, also revealed Wang Zengqi's pure concern for the bottom common people and political responsibility, and Chekhov's influence is an important link of purification. Under the perspective of Chekhov's influence, the rewritten works are compared with the past versions, and Wang Zengqi's several turning points are clarified one by one, and the complete creative vein of the writer is restored from the point and line. At the same time, in the process of perfecting his creative vein, the modern lyric tradition of the 1920s and 1930s and the new literary tradition of the 1940s also gained the opportunity to spread to the land of the 1980s, thus giving birth to the bud of root-seeking literature and avant-garde literature. At this point, the modern and contemporary literary traditions have realized the continuation, and Wang Zengqi's intermediary identity in the two times has been established.