Photo-physics and electronic structure of lateral graphene/MoS2 and metal/MoS2 junctions

Integration of semiconducting transition metal dichalcogenides (TMDs) into functional optoelectronic circuitries requires an understanding of the charge transfer across the interface between the TMD and the contacting material. Here, we use spatially resolved photocurrent microscopy to demonstrate electronic uniformity at the epitaxial graphene/molybdenum disulfide (EG/MoS2) interface. A 10x larger photocurrent is extracted at the EG/MoS2 interface when compared to metal (Ti/Au) /MoS2 interface. This is supported by semi-local density-functional theory (DFT), which predicts the Schottky barrier at the EG/MoS2 interface to be ~2x lower than Ti/MoS2. We provide a direct visualization of a 2D material Schottky barrier through combination of angle resolved photoemission spectroscopy with spatial resolution selected to be ~300 nm (nano-ARPES) and DFT calculations. A bending of ~500 meV over a length scale of ~2-3 micrometer in the valence band maximum of MoS2 is observed via nano-ARPES. We explicate a correlation between experimental demonstration and theoretical predictions of barriers at graphene/TMD interfaces. Spatially resolved photocurrent mapping allows for directly visualizing the uniformity of built-in electric fields at heterostructure interfaces, providing a guide for microscopic engineering of charge transport across heterointerfaces. This simple probe-based technique also speaks directly to the 2D synthesis community to elucidate electronic uniformity at domain boundaries alongside morphological uniformity over large areas

En kritisk diskurspsykologisk studie av svenska kvinnliga rappares konstruktioner av kön och sexualitet i sina låttexter

Hiphopen har i alla dess tider varit en mansdominerad musikgenre och bransch men detta har under de senaste åren kommit att förändras, inte minst inom den svenska kontexten. Svensk hiphop karakteriseras idag av en utpräglad feminism, då till exempel det kvinnliga kollektivet Femtastic har växt fram. Att kvinnor idag har en minst lika stor roll som män inom den svenska hiphopen och att denna har en stark relation till feminism, visar på att den sexism vänd emot kvinnor som har präglat många raptexter skrivna av män här har kommit att förlora sin popularitet. Vi har genom att använda Edleys kritiska diskurspsykologi undersökt hur svenska kvinnliga rappare uttrycker sig och positionerar sig själva och andra i sina låttexter utifrån aspekterna kön och sexualitet, aspekter som manliga rappare ofta har använt vid beskrivning av kvinnor. Vi har med hjälp av tolkningsrepertoarer, subjektspositioner, ideologiska dilemman och Judith Butlers begrepp subversivitet kunnat urskilja olika mönster i konstruktioner av kön och sexualitet och funnit att artisterna i fråga många gånger agerar på ett sätt som bryter eller frångår köns- och sexualitetsbundna normer. Vi har även kunnat uttyda hur artisterna använder språkliga resurser som ett verktyg för att till exempel framhäva en kvinnlig styrka, såväl individuell som kollektiv.  Hip hop has throughout the years been a male dominated music genre and industry but this has recently come to change, not least within the Swedish context. Today Swedish hip hop is largely characterized by its pronounced feminism, partly because of the development of the female collective Femtastic. The fact that women today have an at least equally clear role in the Swedish hip hop industry as men indicates that sexism, which has been a frequently reoccurring theme in male rap lyrics, has come to lose its popularity. We have, through the use of Edleys critical discourse psychology, examined how Swedish female rappers express gender and sexuality and how they position themselves and others with regard to these aspects, aspects that male rappers often have used to describe women. By using interpretative repertoires, subject positions, ideological dilemmas and Judith Butlers term subversivity, we have been able to distinguish certain patterns in the constructions of gender and sexuality. We have found that the artists frequently express themselves in ways that digresses from stereotypical norms of gender and sexuality and distinguished how they use linguistic resources as tools with which they, among other things, accentuate female strength, individual as well as collective