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    17% Efficiency heterostructure solar cell based on p-type crystalline silicon

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    In this work we describe in detail the process used to obtain high efficiency amorphous/crystalline silicon heterostructure solar cells, based on p-type crystalline silicon, typically used in cast production. The back side contact and very effective back surface field have been obtained by a screen printing process. An amorphous silicon intrinsic buffer layer and a n-type amorphous emitter have been deposited on the top of the wafer. A particular treatment has been performed on the top of the n layer in order to increase the conductance and reduce the activation energy of the layer. Finally a silver grid and an antireflection coating are deposited on the top of the device. With the aid of a numerical model, able to describe in detail the role of defect density at the heterojunction and the transport mechanism in the whole structure we analyze the photovoltaic performance. The current-voltage characteristic under AM1.5 and the quantum efficiency on 2.25 cm2 sample have been reported. An efficiency of 17% is achieved that represents the highest result obtained on heterostructure solars cell based on p-type crystalline silicon. © 2004 Elsevier B.V. All rights reserved

    Going Beyond Counting First Authors in Author Co-citation Analysis

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    The present study examines one of the fundamental aspects of author co-citation analysis (ACA) - the way co-citation counts are defined. Co-citation counting provides the data on which all subsequent statistical analyses and mappings are based, and we compare ACA results based on two different types of co-citation counting - the traditional type that only counts the first one among a cited work's authors on the one hand and a non-traditional type that takes into account the first 5 authors of a cited work on the other hand. Results indicate that the picture produced through this non-traditional author co-citation counting contains more coherent author groups and is therefore considerably clearer. However, this picture represents fewer specialties in the research field being studied than that produced through the traditional first-author co-citation counting when the same number of top-ranked authors is selected and analyzed. Reasons for these effects are discussed

    Intertemporal competitive equilibrium: a reappraisal of a basic source of instability

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    Abstract This paper resumes a source of instability of intertemporal equilibrium which was anticipated by Garegnani (2003) and criticized by Schefold (2004). The author points out that a non orthodox tâtonnement pricing must be accepted if the theory has to be consistent with the Jevons’s law of unique price. Such tâtonnement prescribes that the rule for adjusting the relative prices of commodities available at different times is different from the rule applied to the relative prices of contemporary commodities. The working of such a mechanism can be a fundamental source of instability of the intertemporal equilibria. This result seems to be a challenge for the stability of general equilibrium also in the context of more realistic nontâtonnement disequilibrium processes. Final version of this working paper: S.Parrinello, “Intertemporal Competitive Equilibrium, Capital and the Stability of Tâtonnement Pricing Revisited”, Metroeconomica 56:4 (2005). Further development: S. Parrinello, Numeraire, Savings and the Instability of a Competitive Equilibrium”, Metroeconomica 62:2 (2011) 328–355.Intertemporal equilibrium; instability; savings; capital

    Variations on the Author

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    “Variations on the Author” discusses two of Eduardo Coutinho’s recent films (Um Dia na Vida, from 2010, and Últimas Conversas, posthumously released in 2015) and their contribution to the general question of documentary authorship. The director’s filmography is characterized by a consistent yet self-effacing form of authorial self-inscription: Coutinho often features as an interviewer that rather than express opinions propels discourses; an interviewer that is good at listening. This mode of self-inscription characterizes him as an author who is not expressive but who is nonetheless markedly present on the screen. In Um Dia na Vida, however, Coutinho is completely absent form the image, while Últimas Conversas, on the contrary, includes a confessional prologue that moves the director from the margins to the center of his films. This article examines the ways in which these works stand out in the filmography of a director who offers new insights into the notion of cinematic authorship
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