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Research efforts aimed at improving the crystal quality of solution-processed Cu2ZnSn(S,Se)4(CZTSSe) absorbers have largely employed delicate pre- and postprocessing strategies, such as multistep selenization, heat treatment in mixed chalcogen atmospheres, and multinary extrinsic doping that are often complex and difficult to reproduce. On the other hand, understanding and tuning chemical interactions in precursor inks prior to the thin-film deposition have received significantly less attention. Herein, we show for the first time how the complexation of metallic and chalcogen precursors in solution have a stark influence on the crystallization and optoelectronic quality of CZTSSe absorbers. By varying thiourea to metal cation ratios (TU/M) in dimethylformamide (DMF) and isopropyl alcohol (IPA)-based inks, we observed the formation of nanoscale metal–organic complexes and submicron size aggregates which play a key role in the morphology of the precursor layers obtained by spin-coating and drying steps. We also identify the primary cations in the complexation and assembling processes in solution. The morphology of the precursor film, in turn, has an important effect on grain growth and film absorber structure after the reactive annealing in the presence of Se. Finally, we establish a link between metal complexes in precursor solutions and device performance, with power conversion efficiency increasing from approximately 2 to 8% depending on the TU/M and Cu/(Zn + Sn) ratios.

Abstract:Joining performance theory and principles of Anglo-Saxon lordship, I argue that lordship—not gender or generalship—shapes Lawman's approach to succession and ideal kingship.

24 photographs representing four types of humor (aggression, superiority, incongruity, and the unexpected) were redrawn as cartoons and rated by 361 college students. Photographs were judged more humorous than cartoons, with additional effects related to type of humor and sex. The belief that an event really occurred, as found in photographs, may be important for effective visual humor.

It is generally acknowledged that gender stereotypes have hindered the development and recognition of women's humor. In the face of rapid expansion of opportunities for women in the comedy field, previous social science analyses may be obsolete. The present researcher assessed response to male and female comedians in the mid-1970s and again in the early 1980s. Comparison of results revealed considerable change in contemporary evaluations of women comedians, whose ratings now equal those of male comics. As both men and women showed enhanced appreciation for comedians of their own gender, it is suggested that reference groups and social perception provide a basis for understanding the role exerted on humor appreciation by gender.

The article offers information on newer disability arts movement that is often not tied to expressions of identity or arguments for social justice and equity, instead focuses on cultural production and conversations happening among disabled artists. It mentions that deaf and blind dancers, as well as dancers with intellectual and sensory impairments, are better supported by the movement.