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‘This insubstantial pageant faded’: the drama of semiotic anxiety inThe Tempest
- Edited by Peter Holland, University of Notre Dame, Indiana
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- Shakespeare Survey
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- 05 November 2015
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- 24 September 2015, pp 353-367
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- By Rose Teteki Abbey, K. C. Abraham, David Tuesday Adamo, LeRoy H. Aden, Efrain Agosto, Victor Aguilan, Gillian T. W. Ahlgren, Charanjit Kaur AjitSingh, Dorothy B E A Akoto, Giuseppe Alberigo, Daniel E. Albrecht, Ruth Albrecht, Daniel O. Aleshire, Urs Altermatt, Anand Amaladass, Michael Amaladoss, James N. Amanze, Lesley G. Anderson, Thomas C. Anderson, Victor Anderson, Hope S. Antone, María Pilar Aquino, Paula Arai, Victorio Araya Guillén, S. Wesley Ariarajah, Ellen T. Armour, Brett Gregory Armstrong, Atsuhiro Asano, Naim Stifan Ateek, Mahmoud Ayoub, John Alembillah Azumah, Mercedes L. García Bachmann, Irena Backus, J. Wayne Baker, Mieke Bal, Lewis V. Baldwin, William Barbieri, António Barbosa da Silva, David Basinger, Bolaji Olukemi Bateye, Oswald Bayer, Daniel H. Bays, Rosalie Beck, Nancy Elizabeth Bedford, Guy-Thomas Bedouelle, Chorbishop Seely Beggiani, Wolfgang Behringer, Christopher M. Bellitto, Byard Bennett, Harold V. Bennett, Teresa Berger, Miguel A. Bernad, Henley Bernard, Alan E. Bernstein, Jon L. Berquist, Johannes Beutler, Ana María Bidegain, Matthew P. Binkewicz, Jennifer Bird, Joseph Blenkinsopp, Dmytro Bondarenko, Paulo Bonfatti, Riet en Pim Bons-Storm, Jessica A. Boon, Marcus J. Borg, Mark Bosco, Peter C. Bouteneff, François Bovon, William D. Bowman, Paul S. Boyer, David Brakke, Richard E. Brantley, Marcus Braybrooke, Ian Breward, Ênio José da Costa Brito, Jewel Spears Brooker, Johannes Brosseder, Nicholas Canfield Read Brown, Robert F. Brown, Pamela K. Brubaker, Walter Brueggemann, Bishop Colin O. Buchanan, Stanley M. Burgess, Amy Nelson Burnett, J. Patout Burns, David B. Burrell, David Buttrick, James P. Byrd, Lavinia Byrne, Gerado Caetano, Marcos Caldas, Alkiviadis Calivas, William J. Callahan, Salvatore Calomino, Euan K. Cameron, William S. Campbell, Marcelo Ayres Camurça, Daniel F. Caner, Paul E. Capetz, Carlos F. Cardoza-Orlandi, Patrick W. Carey, Barbara Carvill, Hal Cauthron, Subhadra Mitra Channa, Mark D. 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Yee, Viktor Yelensky, Yeo Khiok-Khng, Gustav K. K. Yeung, Angela Yiu, Amos Yong, Yong Ting Jin, You Bin, Youhanna Nessim Youssef, Eliana Yunes, Robert Michael Zaller, Valarie H. Ziegler, Barbara Brown Zikmund, Joyce Ann Zimmerman, Aurora Zlotnik, Zhuo Xinping
- Edited by Daniel Patte, Vanderbilt University, Tennessee
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- Book:
- The Cambridge Dictionary of Christianity
- Published online:
- 05 August 2012
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- 20 September 2010, pp xi-xliv
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A New SiGeC Vertical MOSFET: Single-device CMOS (SD-CMOS)
- Carlos J. Augusto, Lynn Forester
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- Journal:
- MRS Online Proceedings Library Archive / Volume 1252 / 2010
- Published online by Cambridge University Press:
- 01 February 2011, 1252-I02-10
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- 2010
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A new type of silicon-based Vertical MOSFET concept is presented - Single-Device CMOS (SD-CMOS) - in which the same structure can be operated as NFET or as PFET, depending on the biasing conditions [1]. SD-CMOS offers new possibilities for CMOS integration schemes that are simpler - requiring only 5 masks for the “Front- End” - and less costly to manufacture, than any integration scheme requiring the fabrication of two devices with opposite polarities.
In epitaxially grown Vertical MOSFETs, the source, channel and drain can have atomically sharp interfaces, well controlled doping, and channel length controlled by the epitaxial process rather than by lithography and ion-implantation. With epitaxial growth, it is straightforward to do bandgap engineering by incorporating films such as Si1-xGex, and/or Si1-yCy and/or Si1-x-yGexCy, into any of the aforementioned regions. Suitable band offsets at the source/channel interface [2] can suppress DIBL, which is a key limitation to CMOS scaling. These advantages of Vertical MOSFETs are crucial for future CMOS technology nodes, such as 22nm and below.
SD-CMOS has a metallic drain region with work-function close to the mid-gap energy of the channel material, which can be a homogenous material, a random alloy, or a superlattice. The source region has a very narrow bandgap, achievable with (Si1-yCy)m-(Si1-xGex)n superlattices, whose mid-gap level is aligned with that of the channel region, and with band offsets with the channel region that are nearly symmetric for the conduction and valence bands. The source contact is a metal with a work-function close to the mid-gap level of the source and channel regions, which in turn are aligned with the work-function of the drain. The potential barrier, for electrons and holes from the source contact to the source region, is required to be just a few KT. For operation as NMOS and PMOS with nearly symmetric threshold voltages, the work-function of the gate electrode is also aligned with the mid-gap energy level of the channel.
SD-CMOS is unique due to its band alignments: symmetric band edges, from source to drain, with respect to the mid-gap energy (the “mirror” line). Such configuration can only be obtained in the absence of doping, which if present would immediately break that symmetry. The conduction and valence band edges are required to be asymmetric with respect to a cross-section line crossing the channel through the middle of the gate.
The conduction (valence) band offset between source and channel sets the barrier height for electrons (holes) in the OFF condition for NMOS (PMOS), while applying a voltage at the gate leads to the accumulation of electrons (holes) at the source/channel interface, thereby pushing the Fermi-Level in the source above (below) the conduction (valence) band edge of the channel for the ON condition. Band diagrams and a CMOS fabrication flow for SD-CMOS will be presented. [1] US Patent 6,674,099 [2] US Patent 5,914,504
Giants and Enemies of God: The Relationship between Caliban and Prospero from the Perspective of Insular Literary Tradition
- Edited by Peter Holland, University of Notre Dame, Indiana
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- Shakespeare Survey
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- 28 March 2007
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- 12 October 2006, pp 239-253
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Summary
This chapter engages with a growing body of criticism that analyses early modern drama from the perspective of insular literary tradition. Its eventual focus is on Shakespeare’s Tempest but it begins in Anglo-Saxon literature, before moving on to the foundation myth that appears in the medieval Brut, or Chronicles of England. These sources illuminate the play’s engagement with political and religious controversies that were current in England when the play was first performed in November 1611. This approach adds another dimension to the established post-colonial critique of the play and adds depth and complexity to the relationship between Prospero and Caliban as it exposes additional cultural significance in the manipulation of images deployed in the play. Although these images reflect traditional eschatological and mythical sources, those sources have hitherto been obscured by the overwhelming preoccupation of earlier critics with classical influences.
The best-known form of the mythical founding of Britain recounts the coming of Brutus, grandson of Aeneas of Troy, from Armorica, with a band of Trojans. They kill the giants they find when they land at Totnes in Devon and settle down to create a city-based society. European foundation myths citing Greek or Roman ancestors first appear in the work of the seventh-century Frankish chronicler, Fredegar. These myths offer explanations of how a society, civilization or realm came into being and include etiological material and eponymous characters. Many British myths, legends and stories include giants. From the work of Anglo-Saxon poets to that of sixteenth-century antiquarians, giants appear as the original inhabitants of the island of Britain. They are, of course, part of many foundation myths. The Titans of Greek legend are the classical version, and Genesis 6: 4 tells us that before the Flood ‘there were giants in the earth in those days’. Giants are the quintessential primary inhabitants in the myths of many realms and regions.