1,720,968 research outputs found
Speed and Convergence Properties of Improved MOSFET Models Included in the Circuit Simulator AIM-Spice
NEW APPROACH FOR MODELING OF CURRENT DEGRADATION IN HOT-ELECTRON DAMAGED LDD NMOSFETS
An analytical model describing current degradation in hot-electron damaged LDD NMOSFETs is proposed. The basic idea of the model is that the drain current degradation can be explained in terms of an increase in the parasitic resistance only. Good agreement with measured data over at least three decades of stress time is obtained with our model.This work has been supported by the Research Council of Norway and Hyundai Electronics Industries Co.Ltd. The authors thank K.Min and S.Hong for valuable discussions during this work
UNIFIED GaAs MESFET MODEL FOR CIRCUIT SIMULATIONS
We describe a new, unified model for MEtal Semiconductor Field Effect Transistors (MESFETs) which covers all ranges of operation, including the subthreshold regime. The current-voltage (I-V) and capacitance-voltage (C-V) characteristics are described by continuous, analytical expressions with relatively few, physically based parameters. The model includes effects such as velocity saturation, parasitic series resistances, the dependence of the threshold voltage on drain bias, finite output conductance in saturation, and temperature dependence of the device parameters. We also describe a parameter extraction routine which allows the model parameters to be derived in a straightforward fashion from experimental data. The model has been incorporated into our new circuit simulator AIM-Spice. The new device characterization is applied with good results to a typical ion-implanted GaAs MESFET and a delta-doped MESFET.This work has been supported by the Royal Norwegian Council for Scientific and Industrial Research, the NATO Scientific Affairs Division, Virginia Center for Innovative Technology, Office of Naval Research, and COMSAT Corporation. The authors have benefited from discussions with K. Kim and K. Pande
COMPUTER AIDED DESIGN FOR Si AND GaAs INTEGRATED CIRCUITS
This work has been supported by the Norwegian Research Council, the NATO Scientific Affairs Division, Virginia Center for Innovative Technology, Office of Naval Research, and George Mason University through a subcontract from the Defense Communications Agency
Going Beyond Counting First Authors in Author Co-citation Analysis
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
“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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