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“Foundations for Systems Development,” of Modern Systems

Refer to Ch. 3, “Pine Valley Furniture Company Background,” in Part One, “Foundations for Systems Development,” of Modern Systems Analysis and Design. In this course, there are weekly assignments incorporating Pine Valley Furniture, and you might use components from the previous week’s assignment to complete future Pine Valley Furniture assignments.

Imagine this scenario: You work for Pine Valley Furniture. The board of directors is considering launching a WebStore and does not know what is involved in developing a new system. You have been asked to present to the board of directors to help them know what to expect.

Create a 12- to 16-slide presentation directed to the board of directors in which you:

·Explain the importance of using systems analysis and design methodologies when building an information system.

·Justify the systems development life cycle (SDLC) implementation, and explain why that’s the best option, rather than the quick and easy process.

·Summarize the criteria for selecting commercial off-the-shelf software (COTS) presented in Modern Systems Analysis and Design, Ch. 2.

·Identify additional criteria that are, or might be, used to select COTS.

·Consider if the choice was between alternate custom software developers (aka in-house development and custom vendor efforts) rather than pre-written packages.

·Select appropriate criteria for comparing multiple application custom development bids.

·Briefly define each of these criteria.

·Briefly summarize the project management process.

·Explain which of the 4 project management process phases you think is most challenging.

·Explain how to mitigate the risks for that stage.

Sample Solution

According to the classic definition given by Aristotle, “Tragedy is, then, an imitation of a noble and complete action, having the proper magnitude; it employs language that has been artistically enhanced by each of the kinds of linguistic adornment, applied separately in the various parts of the play; it is presented in dramatic, not narrative form, it achieved, through pity and fear the catharsis of such incidents”. Unfortunately, the process of translating the aforementioned quotation into modern languages as well as numerous interpretations given to it by different scholars has gradually blurred out the original meaning behind it, leading to an accumulation of dispute around the implications of particular key terms in the definition. In an attempt to contribute towards the development of modern literature, some critics amend the definition going away from the classical one, breeding more confusion regarding the subject. Nevertheless, the nature of Aristotle’s approach to drawing a definition (his use of the method of diaeresis), explains the longevity of it as, as the definition “clearly isolates a series of important characteristics of tragedy whose presence or absence in any particular work of art can be readily verified”. Thus, Aristotle’s definition allows to us delineate a list of features that must be intrinsic with a play in order for it to be classified as a tragedy. These include: hamartia, hubris, peripeteia, anagnorisis, nemesis, catharsis. One of the most controversial features is hamatria: whilst the rest of the terms on the list are rather definite in their message, the meaning behind hamartia differs from the expected. Instead of being a form of character, a fatal flaw, it is described as an incident in the plot. Furthermore, there is also a robust connection between hamartia and peripeteia, a change of circumstances that inevitably occurs at the turning point of the tragedy and consequently leads to some sort of destruction, frequently death of one of the key characters. According to Aristotle, there is a cause and consequence type of relationship between the two. Hence, a fatal flaw acts as a trigger for the rapid decay. However, this creates ambiguity as, to an extent, the given connotation of hamartia suggests the that deliberate actions of characters are strenuously limited by external forces, for instance, the concept of fate written within the play’s plot. By this definition it is implied that despite the attempts, it is virtually impossible for an individual to overc
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