Realism and Fantasy

Realism and Fantasy

The post has two assignments

1:Risk Assessment and Contingency Plans

Discuss three significant risks that could impact your company’s(Twitter) performance. Propose contingency plans for the company should one or more of these risks occur. our plane is to transfer money on Twitter from a user to another user by using third party transaction company ( Like Stripe Company)
The three risks are :
1- Information Privacy and Protection
some articles for it,
(https://www.entrepreneur.com/article/282722
https://securityintelligence.com/the-power-of-embracing-change-why-mobile-payments-are-more-secure-than-you-think/)
2- Security and Fraud Risk
https://www.mobilepaymentstoday.com/articles/understanding-the-risks-of-mobile-payments-technology/
https://www.business.com/articles/avoiding-mobile-payment-fraud/
3-System Design and Implementation
use the articles, for 3rd risk do what you see right. i will provide some examples. Again my company is Twitter.
Extra article if you want you use it: https://www2.deloitte.com/content/dam/Deloitte/uk/Documents/audit/deloitte-uk-mobile-payments-opportunities-audit-advisory.

2:Realism and Fantasy in My Brilliant Friend by Elena Ferrante

Discuss the story My Brilliant Friend By: Elena Ferrante showing that you have read the entire book.

(Realism and Fantasy in My Brilliant Friend). . Does it reflect something particular about the novel as a whole?

169-266, chapters 21-44
–Discuss what the New Year’s episode shows about Lila, Lenù, and the boys.
On page 176 (chapter 22), we return to the “dissolving margins” explained at the beginning of the Adolescence section. Why do you think it’s the new year’s eve events that unleashes this in Lila? Something similar happens when Rino loses “his usual outline” and is disfigured (p. 180, chapter 23)

–How does Lenù explain her success in school (chapter 25, pp. 188-189)?

–Explore Lenù in Ischia. Analyze her passion for Nino. Did you know she had that in her? Explain and provide evidence from the text.

How do you see Lila in the neighborhood, as she moves away from her project with shoes to becoming the object of a desire (by Marcello Solara) she finds repulsive? How does she evolve–does she really change? What makes her get so involved in materialistic pursuits following her engagement? How does this fit with the Lila we have known so far? What does this part of the book (especially with Marcello and Stefano as suitors) tell you about social class and gender in the neighborhood?

–Select one or two sentences that have interesting imagery and metaphors. Hint: Lenù’s observations of her relationship to Lila and many of the descriptions of Lila’s internal life might be all serve as interesting

QUESTIONS ABOUT THE FINAL CHAPTER:

–Does Lenù’s statement about having gone for education "only to seem enviable to Lila" (276, Chapter 48) surprise you? What about her need to "get away from her mother"?

–Chapter 53: What does the episode of Lenù’s bold critique of religion show about her? Why does Lenù’s writing "hurt" Lila?
–Chapter 59, p.320 Lenù says she has to suppress her "What I was in school" with her boyfriend Antonio and other neighborhood boys. What’s your answer to her question that ends chapter 59?
–Discuss the wedding, and what it shows about the neighborhood residents.
Discuss also Lenù’s f eelings about sitting next to her mother (chapter 60, p. 321-322) and her mother as "contradictory." How do you explain this contradictoriness on the part of the mother?
And how do you understand Lenù’s sense that "I was indissolubly welded to my mother, to her body, the alienness that was expanding inside me" (322). She continues, "As a child, I had looked to her, to her progress, to learn how to escape my mother. I had been mistaken" (322).
In the next paragraph, she remarks again about her fear of not escaping "my mother’s world." Referring to her mother Lenù says "I have to eliminate her" (322). How do you interpret this, including in relation to Lila?
–The unpredictable: interpret the ending (Marcello wearing the shoes). Say what this means. Can you predict what this indicates for Lila and Stefano (in the next book)?

QUESTIONS ABOUT THE NOVEL AS A WHOLE

1. Even though it appears before the novel begins, I draw your attention now to the epigraph, which follows the title and publication information pages, because it is easier to understand after having read the novel. This epigraph is from the the great German author J. W. Goethe’s classic work Faust (1808), based on an old legend about someone named Faustus who sold his soul to the devil and chose damnation in the afterlife in exchange for power in this life. The devil Mephistopheles agrees to help Faust, whose soul he will then possess. This kind of pact is known today as a “Faustian pact” or “Faustian bargain,” where one exchanges something profound (like one’s soul) for material and other worldly gains like power.

In the epigraph, the Lord speaks to the devil and tells him that he does not hate him: “The like of thee have never moved My hate.” And, The Lord explains, he gave the Devil to Man as a companion (“willingly, the comrade him I gave”) in order to spur on Man, who would otherwise go into “repose” (rest) mode.
In other words, the Devil makes a Man “Who works, excited, and must create.”

So, "Man" (the human) needs a Devil to help him create, according to this speech.

How do you think this epigraph applies to Lila and Lenù now that you have finished the novel? Remember not to associate the Devil only with Evil (The Lord in this play does not hate him).

2. Let’s discuss authors, authorship, and literary creation.

Think about the fact that it is Lila who tells Lenù, "you’re my brilliant friend." If all along you thought the title of the novel referred to Lila, but now see that it’s Lila who called Lenù this, does this change your mind about who "the brilliant friend" in the title is? How can we know, and if we cannot know for sure, why is that?

Ultimately, is the novel about Lila or Lenù? It is told in the first person by Lenù and through her eyes and experience of course, but who is the main subject?

Can you relate these above questions to what Lenù says about her writing that she hopes will be published by Nino’s magazine? If you recall, Lila helps Lenù improve the article, and Lenù keeps it in Lila’s handwriting and submits it to Nino with Lila’s handwriting "in order to keep her trace" (301).

Would this have something to do with who the overall novel is about and by? Remember that we are reading a narrative by Lenù according to how it is set up at the beginning, when Lila disappears. So, is this Lenù writing about their childhood with Lila’s trace?

Realism and Fantasy