Spin-wave modes in Ni nanorod arrays studied by Brillouin light scattering

Dynamic magnetic properties of arrays of Ni nanorods with a low aspect ratio have been investigated. It has been shown that the spectra of spin-wave resonances localized on nanorods with a low aspect ratio typically feature the presence of zones with high density of states resulting in a characteristic two-peak pattern of Stokes and anti-Stokes lines of magneto-optical (MO) Brillouin light scattering with pronounced Stokes–anti-Stokes (S-AS) asymmetry. A simple theoretical model based on the analysis of the elliptic character of the polarization of the optical wave interacting with a dipole magnetostatic wave has been proposed. It has been shown that the S-AS asymmetry is due entirely to the asymmetry of the MO interaction efficiency with respect to time reversal of the magnetic precession in a magnon.

Cockney, pseudo-slang et argot de série noire : San-Antonio et le moment Peter Cheyney du roman noir français

This article examines how in post-war France slang became a byword for the noir genre. It considers the mechanisms, models, networks and translators' practices which set the tone for the "Série Noire”, whose influence, both written and on the screen, had, within a decade, become, a "mythology" studied by Roland Barthes. It argues that this use of slang is redolent of the inauthenticity which characterises this stage in the reception of the Noir genre in France. It is certain that this artificial French slang is far from devoid of charm, or even mystery. But it tends to depreciate and deform the translated works and seems to be the hallmark of an era that might have defined and acclimatised Noir fiction in France, yet remains one which has not fully understood the gravity of its purpose. While such translations seem outdated nowadays (if not quite incomprehensible ), original works written at the time in French by writers inspired by the model of " pseudo- slang" and the fashionability of American popular culture have benefited from them. In this very inauthenticity, derivative novels have found a licence for invention and freedom, with authors such as Cocteau hailing it as a revival of the French written language. We see here how the adventures of Commissaire San Antonio, by Frédéric Dard constitute the best examples of this new creativity in French and draw upon a template set for the reception of American literature