scholarly journals Outer layers determine the parallel critical field of a superconducting multilayer

1991 ◽  
Vol 44 (14) ◽  
pp. 7745-7748 ◽  
Author(s):  
W. Maj ◽  
J. Aarts
1985 ◽  
Vol 56 ◽  
Author(s):  
CTIRAD UHER ◽  
W.J. WATSON ◽  
J.L. COHN ◽  
IVAN K. SCHULLER

AbstractUpper critical field and its anisotropy have been measured on two very short wavelength Mo-Ni heterostructures of different degrees of perfection, λ = 13.8Å (disordered structure) and X = 16.6Å (layered structure). In both cases the parallel critical field has an unexpected temperature dependence, a large and temperature dependent anisotropy, and over 60% enhancement over the Clogston-Chandrasekhar limit. Data are fit to the Werthamer-Helfand-Hohenberg theory and the spin-orbit scattering times are found to be 1.79 × 10−13 sec and 2 × 10−13 sec, respectively.


1992 ◽  
Vol 4 (18) ◽  
pp. L293-L298 ◽  
Author(s):  
N C Constantinou ◽  
M Masale ◽  
D R Tilley

1988 ◽  
Vol 49 (C8) ◽  
pp. C8-1071-C8-1072
Author(s):  
M. A. Continentino ◽  
E. Szkatulla ◽  
B. Elschner ◽  
H. Maletta

2019 ◽  
Vol 26 (1) ◽  
pp. 1-20
Author(s):  
Carol Mejia Laperle

The critical field of The Masque of Blackness often annotates Queen Anne and her ladies’ blackface performance with a courtier's eye-witness comment that the “lean cheeked moors” were “loathsome” and “ugly.” Yet Ben Jonson's performance text, when read beside Dudley Carleton's correspondences, resists the undue influence of the aristocrat's anecdotal disparagement. This project refuses to take Carleton's denigration as fact. Instead, it investigates the masque's representation of Niger's daughters to develop the affective experience of pleasurable mixing across racial identities and to show how the opulence, innovation, and beauty afforded by blackface are the means to underwrite arguments of political authority. Rather than a deviation from the performance's magnificent appeal, racial impersonation is constitutive of the masque's demonstration of beauty and invention of pleasure. As such, the allegory of King James I's power hinges on a fiction of idealized incorporation that is ideologically powerful precisely because it is primarily an aestheticized, affective experience. Beyond the ostensible trope of racial transformation, Jonson presents the pleasure of mixing across racial identities as the precondition for Britannia's absorption of migrant bodies. Blackness is a visual reminder of an indelible difference that can be absorbed, incorporated, indeed “salved,” by the monarch's faculties of conversion. The affective experience afforded by blackface is thus an argument for the sovereign's power of unification, underwriting what was a largely unfulfilled and controversial political agenda: the coalition of realms under the aegis of Great Britain.


2020 ◽  
Author(s):  
Sabyasachi Paul ◽  
S. K. Ramjan ◽  
L. S. Sharath Chandra ◽  
Archna Sagdeo ◽  
M. K. Chattopadhyay

2013 ◽  
Vol 26 (8) ◽  
pp. 085003 ◽  
Author(s):  
E Antropov ◽  
M S Kalenkov ◽  
J Kehrle ◽  
V I Zdravkov ◽  
R Morari ◽  
...  

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