The current study investigates Inconel 52M multilayer by electroslag cladding. The four-layer multilayer with good formation is obtained. The experimental results indicate that the microstructure of the multilayer consists of numerous coarse columnar dendrites in the same growth direction. Nb rich carbides, the mixture of Al rich oxides and Nb rich carbides and long chains of eutectic phases are precipitated in the interdendritic regions. The significant composition changes merely occur in the limited interface regions between the substrate and the first layer, while the smooth composition changes occur in the 1st layer. Moreover, the microhardness in single layer decreases from the root to the top. The microhardness decrease in the first layer is more significant than that in the other single layer as a result of the composition transitions by the effect of dilution.
α-Linolenic Acid (ALA, C18:3) that is an essential Polyunsaturated Fatty Acid (PUFA) plays a vital role in many metabolic processes. The oleaginous yeast Rhodosporidium toruloides has generally been used for triacylglycerol production, including PUFAs. In this work, α-linolenic acid, not its γ-isomer, is firstly identified to be synthesized by R. toruloides and the mutant M18 that was obtained through plasma mutagenesis in the previous studies. The effects of five different nitrogen sources and four C/N ratios on the biomass, total lipid and ALA production from R. toruloides and M18 were studied. It was found that the highest biomass and lipid production were achieved when tryptone used as nitrogen with C/N ratio 100:1. In fed-batch cultivation, M18 has the highest ALA accumulation of 5.33% of total lipid, compared to 3.67% in the wild type strain. M18 has a promising potential in ALA production and commercial application of microbial PUFAs.
The purpose of the article is a theoretical understanding of the development processes that took place in the second half of the 20th century and early 21st century in line with the nationalisation of the clarinet sphere of Chinese composers’ creativity. In the course of the study, periodisation criteria were identifi ed. They were the change of the authors’ guidelines, individual for each period. It is emphasised that the stylistic appearance of the works was determined by the interaction of relatively stable components of Chinese traditional and Western European music. Conclusions are drawn about the formation of three different-quality phases of development on the ways of adapting the national tradition, generation and synthesis of its new forms in clarinet works of Chinese composers.
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