The paper focuses on the structure of an advertising image for a 2010s computer company in the neo-capitalist Moscow, Russia. The analysis looks back to the pioneering studies of advertising as a commercial “applied art” by Sergei Eisenstein, Leo Spitzer and Roland Barthes. The picture’s plot and composition are shown to be a consistent and sophisticated near-artistic design that uses textual puns, poetic topoi and visual stereotypes (in particular, sex appeal) for the promotion of the advertised merchandise (a smartphone). The psychological naturalization of the design is clarified with references to the insights of Sigmund Freud, Heinz Kohut and Gerard Genette into the dynamics of narcissism. In a widening circle, the contextualization of the design involves: the literary topos of using birds in love poetry (made famous by its treatment in the lyrics of the Roman poet Catullus) and in painterly variations on the theme; the narcissist discourse of a modern Russian poet (Eduard Limonov); and the grand pictorial tradition of portraying a nude (Venus) before the mirror (relevant classical canvases are considered briefly).

中文翻译：

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数字高中：视觉诱惑的艺术？

论文 专注于 2010 年代在俄罗斯新资本主义莫斯科的一家计算机公司的广告形象结构。该分析回顾了 Sergei Eisenstein、Leo Spitzer 和 Roland Barthes 将广告作为商业“应用艺术”的开创性研究。图片的情节和构图被证明是一种一致且复杂的近乎艺术设计，使用文本双关语、诗意的话题和视觉刻板印象（尤其是性感）来宣传广告商品（智能手机）。参考西格蒙德·弗洛伊德、海因茨·科胡特和杰拉德·热内特对自恋动力学的见解，阐明了设计的心理自然化。在一个不断扩大的圈子中，设计的语境化包括：在爱情诗歌中使用鸟类的文学主题（因其在罗马诗人卡图卢斯的歌词中的处理而闻名）和主题的绘画变化；现代俄罗斯诗人（爱德华·利莫诺夫）的自恋话语；以及在镜子前描绘裸体（维纳斯）的宏伟绘画传统（简要考虑相关的古典画布）。