In this paper, we present a study of the effects of different superlattice structural parameters on the bandgap and on both the vertical and in-plane mobility of electrons in InAs/GaSb type-II superlattices using a fully numerical finite difference method. The analysis of our results clearly indicates the significance of interface roughness scattering and, in particular, that the influence of interface roughness correlation length and height is considerable. A comparison of our calculated results with published experimental data is shown to be in good agreement. V C 2013 AIP Publishing LLC.
The in-plane electron mobility has been calculated in InAs/GaSb type-II superlattices at low temperatures. The interface roughness scattering and ionized impurity scattering are investigated as the dominant scattering mechanisms in limiting the electron transport at low temperatures. For this purpose, the band structures and wave functions of electrons in such superlattices are calculated by solving the K.P Hamiltonian using the numerical Finite Difference method. The scattering rates have obtained for different temperatures and structural parameters. We show that the scattering rates are high in thin-layer superlattices and the mobility rises as the temperature increases in low-temperature regime.
This paper critically examines psycho-ideological significance of Dorian Gray, on Wilde’s only novel, The Picture of Dorian Gray. Although Wilde’s novel has mostly been read as an aesthetic work of ‘Art for Art’s Sake’, the present research intends to criticize Wilde’s only novel using Žižek’s theories on subjectivity, ideology, and trauma. The brainchild of an indisputable giant literary tradition, The Picture of Dorian Gray is a tactfully designed puzzle that called the Victorian establishment into question. The thick texture of the novel, I argue, lends itself to Žižekian ideological and psychoanalytical theories wherein one can obtain a novel perspective on the issue of subjectivity. The Slovenian philosopher, Slovaj Žižek (b.1949) argues that the subject is divided and always in a transitional process until his death; Dorian is an epitome of such a subjectivity always already in transition.
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