Address data within geographic information systems (GIS) is used as reference data to link personal and administrative information, thus making it possible to locate and deliver goods and services to eligible persons. Preferably, every country must develop and maintain a single national address database (NAD) to eliminate data redundancy and provide a common point of reference across the board. In South Africa, the challenge is that there are separate address databases, which are developed and maintained by various public and private organizations – with little or no cooperation on data sharing. Currently, the establishment of a Committee for Spatial Information (CSI) which is tasked with the implementation of the South African Spatial Data Infrastructure (SASDI) and the publication of the South African Address Standard (SANS 1883) offer organizations an opportunity to collaborate towards the creation of a single address dataset. This research posits that the implementation of a successful data sharing initiative depends on the understanding of motivators and barriers of organizations participating in it. The research applied the case study method – with a semi-structured questionnaire – to assess the issues that motivate or obstruct GIS data sharing among three address organizations in South Africa. The results identified significant motivators that underlie the data sharing activities, e.g. reduced cost of data collection, improved data quality; and equally identified significant barriers that make organizations reluctant to enter into a data sharing initiative, e.g. data copyright and ownership, high staff-turnover, and lack of financial and technical resources. Although the case studies focused on address data in South Africa, the research findings can equally apply to other spatial datasets and are relevant for the successful implementation of the South African Spatial Data Infrastructure (SASDI). / Dissertation (MIT)--University of Pretoria, 2012. / Computer Science / Unrestricted

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Denna uppsats har i syfte att analysera tilltalen i fyra samtida ungdomsromaner: Grim (2021) av Sara Bergmark Elfgren, Fula tjejer (2020) av Johanna Lindbäck, Lisa Bjärbo och Sara Ohlsson, Bergtagen (2020) av Camilla Sten och A Good Girl’s Guide to Murder (2019) av Holly Jackson. Metoden och den huvudsakliga teorin är baserade på Barbara Walls The Narrative Voice: The Dilemma of Children’s Fiction från 1991 och hennes användning av narratologiska koncept om berättarperspektiv för att avgöra om en bok är skriven för barn. Analysen visar hur de fyra romanerna använder olika och unika sätt att tilltala de implicita unga läsarna. Den implicita författaren syns ibland via berättarens röst, beroende på vilket berättarperspektiv romanerna har. I slutändan är det dock svårt att försöka definiera ungdomslitteraturgenren på samma sätt som Wall definierar barnlitteratur. Jag menar att man skulle behöva överväga ungdomslitteraturens unika förutsättningar samt dess läsare för att försöka definiera genren ännu tydligare. / This thesis aims to analyse the narrative address of four contemporary novels for young adults: Grim (2021) by Sara Bergmark Elfgren, Fula tjejer (2020) by Johanna Lindbäck, Lisa Bjärbo och Sara Ohlsson, Bergtagen (2020) by Camilla Sten, and A Good Girl’s Guide to Murder (2019) by Holly Jackson. The method and main theory are based on Barbara Wall’s The Narrator’s Voice: The Dilemma of Children’s Fiction from 1991 and her use of narratological concepts of narrative perspective to determine if a book is written for children. The analysis shows how the four novels use unique and different approaches to address their implied young readers. The implied author can sometimes be shown through the narrator’s voice, depending on which narrative perspective the novels have. In the end, however, it is difficult to try to define the genre of young adult fiction in the same way that Wall defines the genre of children’s fiction. I argue that one would need to consider the unique conditions of young adult literature and its readers to try to define the genre even clearer.

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This study examines the translation of three forms of reader address from English to Swedish in a gardening guidebook – the pronoun you as a second person reference and generic reference, modal verbs, and imperatives. The translation was made by the author of this study. The aim of the study is to investigate how the three forms of reader address is translated. The quantitative analysis shows that the most used form of reader address out of the three investigated are imperatives, while the pronoun you followed closely behind. While modal verbs were used frequently in the ST, the modality was not translated in the TT. The qualitative analysis shows that the pronoun you was translated into second person du, third person generic man or was omitted in the translation in almost equal measure. How the pronoun you was translated in the TT depended on how the translator interpreted the author’s target audience. Only two modal verbs occurred frequently in the ST, and in the TT they were either translated as modal verbs or into present tense. Lastly, the imperative verbs were most commonly translated as imperatives in the TT. About 10% were translated into tensed verbs. Furthermore, half of that was translated to form suggestions.

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This thesis is focused on structure of future IPv6 routing tables. It contains basic information about IPv6 addresses , description of hierarchy address allocation, multihoming , strategy of IPv4/IPv6 address allocation, statistics of structure properties at routing tables and forecast of future space for address IPv6 protocol. Other part of this thesis is implementation of IPv6 address generator which generates addresses according given configuration. This thesis simultaneously includes investigation of strategy IPv6 address allocation at region of RIPE NCC organization.

This thesis analyses how ways of thinking about and meanings of family are (re)negotiated and (re)presented in six films that, to varying degrees, are categorised as cine social. The group of films consists of Familia (León de Aranoa, 1996), Solas (Zambrano, 1999), Flores de otro mundo (Bollaín, 1999), Poniente (Gutiérrez, 2002), Te doy mis ojos (Bollaín, 2003) and Cachorro (Albaladejo, 2004). Despite the growing body of critical work on the wide-ranging social themes they deal with, little sustained attention has been given to their representations of family. Scholars tend to mention it only in passing, or refer back to the allegorical/mediating function that family has often played in Spanish cinema. The objective of this thesis is to place the emphasis, as the films do themselves, on the family per se. Insights into family from a range of academic fields including philosophy, sociology, feminist and queer theories and cultural, race and gender studies are combined with close textual readings and a consideration of the modes of representation and address employed in the films to analyse how they function as sites of ideological struggle. The thesis begins by sketching out historically and culturally situated definitions of family and providing an overview of some of its most iconic representations in Spanish cinema. Establishing many of the aspects developed in the main body of the thesis the first chapter concentrates on Familia, which denaturalises the hegemonic family by presenting it as a self-conscious performance. The subsequent four chapters focus on family forms, roles, practices, commitment, power dynamics and domestic space. They explore how the films’ affective and informed modes of address position the spectator in relation to criticisms of the traditional family and evaluations of emerging family ideologies, finally proposing that they could usefully be viewed as a cycle of postmodern family melodramas.