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    Nanoscale CMOS spacer FinFET for the terabit era

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    A spacer lithography process technology, which uses a sacrificial layer and spacer layer formed by chemical vapor deposition (CVD), has been developed. It has been applied to make a sub-40-nm Si-fin structure for a double-gate FinFET with conventional dry etching for the first time. The minimum-sized features are defined not by the photolithography but by the CVD film thickness. Therefore, this spacer lithography technology yields better critical dimension uniformity than conventional optical or e-beam lithography and defines smaller features beyond the limit of current lithography technology. It also provides a doubling of feature density for a given lithography pitch, which increases current by a factor of two. To demonstrate this spacer lithography technology, Si-fin structures have been patterned for planar double-gate CMOS FinFET devices.The authors would like to thank the University of California- Berkeley Microlab staffs for their support in device fabrication

    A spacer patterning technology for nanoscale CMOS

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    A spacer patterning technology using a sacrificial layer and a chemical vapor deposition (CVD) spacer layer has been developed, and is demonstrated to achieve sub-7 nm structures with conventional dry etching. The minimum-sized features are defined not by the photolithography but by the CND film thickness. Therefore, this technology yields critical dimension (CD) variations of minimum-sized features much smaller than that achieved by optical or e-beam lithography. In addition, it also pro-tides a doubling of device density for a given lithography pitch. This method is used to pattern silicon fins for double-gate metal-oxide semiconductor field effect transistors (MOSFETs) (FinFETs) and gate electrode structures for ultrathin body MOSFETs. Process details are presented.This work was supported in part by the DARPA AME Program under Contract N66001-97-1-8910 and the SRC under Contract 2000-NJ-850

    Nanoscale ultrathin body PMOSFETs with raised selective germanium source/drain

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    Nanoscale ultrathin body (UTB) p-channel MOSFETs with body thickness down to 4 nm and raised source and drain (S/D) using selectively deposited Ge are demonstrated for the first time. Devices with gate length down to 30 mn show high drive current, low off current, and excellent short-channel behavior. Mobility enhancement and threshold-voltage shift due to the quantum confinement of inversion charge in the ultrathin body are investigated

    Going Beyond Counting First Authors in Author Co-citation Analysis

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    The present study examines one of the fundamental aspects of author co-citation analysis (ACA) - the way co-citation counts are defined. Co-citation counting provides the data on which all subsequent statistical analyses and mappings are based, and we compare ACA results based on two different types of co-citation counting - the traditional type that only counts the first one among a cited work's authors on the one hand and a non-traditional type that takes into account the first 5 authors of a cited work on the other hand. Results indicate that the picture produced through this non-traditional author co-citation counting contains more coherent author groups and is therefore considerably clearer. However, this picture represents fewer specialties in the research field being studied than that produced through the traditional first-author co-citation counting when the same number of top-ranked authors is selected and analyzed. Reasons for these effects are discussed

    Variations on the Author

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    “Variations on the Author” discusses two of Eduardo Coutinho’s recent films (Um Dia na Vida, from 2010, and Últimas Conversas, posthumously released in 2015) and their contribution to the general question of documentary authorship. The director’s filmography is characterized by a consistent yet self-effacing form of authorial self-inscription: Coutinho often features as an interviewer that rather than express opinions propels discourses; an interviewer that is good at listening. This mode of self-inscription characterizes him as an author who is not expressive but who is nonetheless markedly present on the screen. In Um Dia na Vida, however, Coutinho is completely absent form the image, while Últimas Conversas, on the contrary, includes a confessional prologue that moves the director from the margins to the center of his films. This article examines the ways in which these works stand out in the filmography of a director who offers new insights into the notion of cinematic authorship
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