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The figure of the Castilian knight Rodrigo Díaz de Vivar, better known as El Cid, is progressively becoming a frequent topic in metal music. This growing presence has been evident particularly since the explosion of power metal in the late 1990s, and the more recent rise of folk metal, being felt not only in Spanish and Spanish-influenced bands, but also in others with no known links to the Spanish culture. This chapter establishes how the choice of such sources influences the final portrait of El Cid in metal music and the message conveyed to and the effect on the listener. The motivation behind the choices above is explored with a focus on musical, socio-cultural and political–ideological factors.

More than 20 songs by Spanish and non-Spanish bands about the Castilian lord and epic hero Rodrigo Díaz de Vivar, El Cid, account for the topicality of the Hispanic Middle Ages in heavy metal. This chapter explores how diversely El Cid is addressed in 10 of these songs, in particular, from the perspectives of reception theory and both the cultural background of the band (Spanish or non-Spanish) and the language in which the lyrics are written (Spanish or English). Through detailed textual analysis and contextualisation, I will examine how, for Spanish (and Spanish-American) bands, El Cid serves the purpose of naturalising the stereotypical heavy-metal medieval knight, thereby functioning as a vindication of Hispanic cultural heritage within what is perceived to be an Anglo-American (and Germanic-Nordic) dominated musical scene. By contrast, non-Spanish bands resort primarily to El Cid to refresh the overused motif of the medieval knight, but sometimes in a more connoted manner as well, in which his iconic value as a Moor-slayer and a defender of the Western white Christian principles is highlighted. Moreover, I will discuss the appropriation and re-appropriation of El Cid by, respectively, non-Spanish and Spanish heavy metal bands, from the point of view of cultural appreciation and appropriation, and Islamophobia.

Coreplates in large generators may suffer from local short circuits. An accurate analysis is required to avoid these failures and detect them when occurring. The purpose of this paper is to develop a lamination stack model compliant with interlamination default analysis.

An electromagnetic model should account for the eddy‐current in the lamination stack. To avoid the modelling of the insulation between the steel sheets, the authors propose to introduce a condition on the fields applied between each sheet. In the case of electric fault between several sheets, the conducting domain, i.e. the sheets, is not simply connected. Then, T‐Ω formulation must be adapted to solve such problem.

The model allows to account for thin plates, insulating layers and electrical faults in electromagnetic modeling of core plates. This study leads to a first evaluation of eddy current losses in steel laminations with defaults.

The present study does not take into account thermal effects. The next step will consist in a magneto‐thermal computation. Thus, an electromagnetic finite element software must be coupled with a thermal one. An other improvement will rely on the study of actual situation in order to evaluate the accuracy of industrial sensors and to compare with measurements.

The paper develops a lamination stack model compliant with interlamination default analysis. As far as the authors know, this is the first study on 3D electromagnetic modeling.

Interlaminar short circuits in turbo generator stators can lead to local damage of the iron core. The purpose of this paper is to model an interlaminar short circuit diagnosis test on an existing structure.

This work presents the modeling of short‐circuited laminations in a stator yoke of a turbo‐generator. A 3D finite element model, associated to a homogenization technique, is used to calculate the short‐circuit current. The diagnosis test known as El Cid has been modelled as well.

Calculation results are compared with the experiment. The same tendency has been observed both in experimental and numerical results.

Additional calculations may be performed (parametric studies) in order to investigate El Cid measuring under different conditions (different material properties, fault position, size), which may lead to a better interpretation of the results.

Modelling of short circuit diagnosis tests under different conditions may help with the interpretation of measuring results, predicting the fault size/seriousness and location. So, only the concerned parts of the stator have to be disassembled and repaired/rebuilt.

It is not easy to model numerically a structure with a short circuit inside, since different dimensions are involved: the fault and the varnish between laminations are much smaller than the stator itself. Thus, homogenization techniques have been used to model the lamination stack region. The combination of this technique with the modelling of the El Cid test constitutes a tool to study this kind of fault and calculate its severity and location in a stator.

The chapters in the Nationalism and Identity in Metal Medievalism section consider a range of historical figures and practices as presented in metal music. Amaranta Saguar García’s analysis of references to El Cid in ‘The Return of El Cid: The Topicality of Rodrigo Díaz in Spanish Heavy Metal’ focusses on issues of nationalism and the varying representations of El Cid in a range of songs. In a similar manner, Annika Christensen’s ‘Making Heritage Metal: Faroese KvæÐi and Viking Metal’ looks at the interplay of medieval ballads and modern folk metal as part of the group Tyr’s investment in celebrating and articulating Faroese identity. While these two essays work with specific examples of national identities, Shamma Boyarin’s ‘The Prophet Himself Had Knowledge of Him: Nile’s “Iskander D’hul Kharnon” and a Different Kind of Metal Medievalism’ uses the figure of Alexander the Great to address the broader question of the ways that representations of classical and medieval figures define civilisations. Dean Swinford’s ‘Black Metal’s Medieval King: The Apotheosis of Euronymous through Album Dedications’ examines the medievalisation of Euronymous and its relation to black metal’s medievalist self-representation. Within this collaborative chapter, the authors explore the areas of greatest overlap in our explorations of metal music and medieval culture: nationalism and identities, neofascism, the whitewashed Middle Ages, and issues of historical authenticity in neomedievalism.