Potential and current distribution in strongly anisotropic Bi(2)Sr(2) CaCu(2)O(8) single crystals at current breakdown

Experiments on potential differences in the low-temperature vortex solid phase of monocrystalline platelets of superconducting Bi(2)Sr(2)CaCu(2)O(8) (BSCCO) subjected to currents driven either through an "ab" surface or from one such surface to another show evidence of a resistive/nonresistive front moving progressively out from the current contacts as the current increases. The depth of the resistive region has been measured by a novel in-depth voltage probe contact. The position of the front associated with an injection point appears to depend only on the current magnitude and not on its withdrawal point. It is argued that enhanced nonresistive superconducting anisotropy limits current penetration to less than the London length and results in a flat rectangular resistive region with simultaneous "ab" and "c" current breakdown which moves progressively out from the injection point with increasing current. Measurements in "ab" or "c" configurations are seen to give the same information, involving both ab-plane and c-axis conduction properties.Comment: 9 pages, 13 figures, typo error corrected, last section was refine

Diesseits und jenseits der Oder:Judith Hermanns literarische Auseinandersetzung mit Theodor Fontane in Sommerhaus, später

Judith Hermann's works have attracted considerable criticism for their supposedly slight portrayal of passively drifting characters and for their alleged failure to engage with the socio-political realities of contemporary life in the Berlin Republic. Only very recently have scholars paid attention to the hidden concern with memory expressed in her books, and have set out to examine their intertextual depth. This paper explores these previously neglected historical references in Summerhouse, later and analyses the book's intricate intertextual allusions with specific reference to Theodor Fontane's works. It examines how the tentative existence, which Hermann's characters experience, is the product of a hesitant and fruitless confrontation with questions of German history and nationhood. Using pervasive water imagery, Hermann shows present-day Germany as a continually contested territory with a fluid identity shaped by an abundance of conflicting narratives. In this context, the allusions to Fontane as a representative of the Wilhelminian period serve as references to a continuing German tradition of repression and marginalisation. At the same time, Hermann recognises Fontane's ambivalent political stance combining elements of social criticism with a general endorsement of social order. Ultimately, the seemingly indifferent attitude of Hermann's characters and the elegiac style used to portray them, emerge as a distancing mechanism that functions as a postmodern variant of Fontane's irony and is shaped by a similar sense of skepticism towards developments in German society and national history