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Main goal of this thesis is evaluation of the available SON and sacrificial layer technologies from the perspective of temperature sensor design. Based on the findings, a series of detector architectures is proposed. The work is subdivided into two major parts, with the first one targeting the process characterization. Good command of the selected technology, awareness of its dependencies and limitations, is essential and has to be examined prior to any MEMS design. Pressure related topics are of particular interest, since this criterion, among others, highly influences the performance of thermal systems. Knowledge of the critical parameters is applied in the second half, where the actual IR sensor design is considered. Process characterization, required for thermal insulation estimations, is not the only link between the two physics fields. Discussed IR detectors are highly inspired by the developed pressure sensing solutions. This resulted in either similar operation principles being applied, or even the same fabricated structures being adapted for new use.:List of abbreviations List of Figures List of Tables Acknowledgements 1 Introduction 1.1 Motivation and organization of the work 1.2 Microstructure fabrication methods 1.2.1 Surface micromachining 1.2.2 Bulk micromachining 1.2.3 SOI and SON structuring 2 Pressure sensor for process characterization applications 2.1 Motivation 2.2 Pirani gauge approach 2.2.1 Principles of operation and state of the art 2.2.2 Modelling 2.2.2.1 Setup 2.2.2.2 Results 2.2.3 Processing 2.2.4 Measurement 2.2.4.1 Setup 2.2.4.2 Results 2.2.5 Application 2.2.5.1 Outgassing characterization 2.2.5.2 Reliability investigation 2.2.5.3 Thermal emitter for IR spectroscopy 2.2.5.4 Active pressure sensor 2.3 Capacitive sensor approach 2.3.1 Principles of operation and state of the art 2.3.2 Surface channel approach 2.3.3 SON channel approach 2.3.4 Application 2.3.4.1 MEMS dynamic characterization 2.3.4.2 Differential capacitive pressure sensor 2.4 Summary and overview of results 3 Temperature sensor for IR applications 3.1 Motivation 3.2 Resistive sensor approach 3.2.1 Principles of operation 3.2.2 Modelling 3.2.3 Measurement 3.3 Capacitive sensor approach 3.3.1 Principles of operation 3.3.2 Modelling 3.3.2.1 Setup 3.3.2.2 Results 3.3.3 Processing 3.4 Junction - based approach 3.4.1 State of the art 3.4.2 Thermal insulation design 3.4.2.1 Overview 3.4.2.2 Processing 3.4.2.3 Thermal performance 3.4.3 Detector design 3.4.3.1 Diode sensing solution 3.4.3.2 Bipolar Junction Transistor sensing solution 3.4.3.3 Junction Field Effect Transistor sensing solution 3.5 Summary and overview of results 4 Conclusion Bibliography

What does it mean to occupy the other side of what is - to “be” the nothing that lies beyond being? Or, in other words: Where yonder the End of Philosophy? Thus reads the first and final line of inquiry that we, the philosophers of this age, are impelled to pursue. Such is the case, I contend, in light of the fact that our time quite simply is that of the eschatological aftermath, the “postmodern” era where the purportedly “greatest” thinkers of our immediate past, Martin Heidegger and Ludwig Wittgenstein, have, each in his own way, already declared philosophical moratorium. Yet it seems to me there is curious and vital affinity to the philosophical legacy these thinkers, whose mark on history is, paradoxically, so wide and so deep as to be at once indelible and invisible. Accordingly, this thesis seeks to render Heidegger and Wittgenstein, each a formidable critic of the philosophical tradition, as mutually complementary voices, speaking not of an end-to-be, but on the way beyond the end-that-is-past. In writing on the disjunctive parallelism evident in their famed non-encounter, I hope to clarify the nature and purpose of contemporary philosophical practice. My principal argument is that, in locating philosophy, conceived as a thematic study of the being of what is, within language, Wittgenstein and Heidegger both came to view language itself as the pre-philosophical nothing, which, in its wordless non-identity or self-difference, presents a way beyond the word and world of traditional philosophical thinking. It is my hope that, in outlying the shared strains of their respective critical disclosures of the relation between language and philosophy, I will be able to say not the same, but something yet unsaid, addressing our time, the time after the end, as a period of continued, self-critical thinking and speaking about that which, as the difference between the spoken word and that which is, prepares the way towards an experience of the hitherto “impossible” meaning of non-being.

David Gilmour Blythe's street urchin paintings created during the 1850s are disturbing and often grotesque. The image of childhood that he created was quite different from that of his American contemporaries who adapted the romantic notion of the child from eighteenth-century English painters. Previous scholars have noted the contrast between Blythe's vision of America's street children and the optimistic view offered by other American painters but have not offered a sufficient explanation as to why they differed so radically. This thesis will examine several of Blythe's urchin scenes, as well as his poetry and writings to reveal the clear presence of anti-immigrant sentiment in his painting. Such an analysis will posit Blythe's political beliefs about immigration as a plausible explanation for his peculiar view of the children who occupied Pittsburgh's streets.

The challenges of producing and directing small professional theatre in any metropolitan area are many. This thesis is concerned with the process of finding a producing theatre, casting, rehearsal and staging the play, "Nothing Sacred" by George F. Walker, in the Washington D.C. metropolitan area. Unlike many thesis projects this one was conducted completely outside of the university setting and is thus a true reflection of the small professional theatre community.

This thesis serves as documentation of my efforts to explore and define my creative process as an actor in creating the role of Beatrice in William Shakespeare's Much Ado About Nothing. This includes research, character analysis, rehearsal journal and an evaluation of my performance. Much Ado About Nothing was produced by the University of New Orleans Department of Film, Theatre and Communication Arts. The play was performed in the Robert E. Nims Thrust Theatre of the Performing Arts Center at 7:30 pm on the evenings of April 23 through 25 and April 30 through May 2. There was a student matinee the morning of Friday, May 1 at 9:30 am as well as one public matinee at 2:30 pm on Sunday, May 3, 2009.

Em Tutaméia, Guimarães Rosa propõe e experimenta um recorte muito peculiar do cômico, cuja função não seria a de causar o riso, mas a de dar acesso a \"novos sistemas de pensamento\". A natureza e os mecanismos do cômico são discutidos no primeiro prefácio e valorizados por sua capacidade de desfazer estereótipos, abrindo espaço para outras possibilidades, para o inédito (sentido primordial de anedota), por exemplo. A própria obra incorpora formas e estruturas do cômico: seus quatro prefácios retomam em nova configuração elementos da comédia clássica, principalmente a parábase; assinalamos várias estórias organizadas segundo as formas cômicas debatidas no prefácio; até mesmo na composição de frases ou vocábulos percebe-se princípios próprios do cômico. A perspectiva cômica, infiltrada em vários planos da obra, cumpre inúmeras funções. Uma delas seria a de revelar o engano de raciocínios e valores viciados, já que alarga as possibilidades de representação ao incorporar \"outras lógicas\", normalmente banidas do pensamento sério, como no caso do louco, da criança, do criminoso, do palhaço, do velho esclerosado etc. Alguns procedimentos cômicos discutidos - seria o caso do \"processo de niilificação\" e da \"definição por extração\" - e também observados em estórias seriam modos de se acessar o \"nada\", tema amplamente recorrente e que faz parte inclusive do título: Tutaméia é \"ninharia\", \"quase nada\". A comicidade, ainda, contribuiria para ampliar o próprio idioma; ao desfazer clichês possibilita apreender a realidade não atingida pelo senso comum ou por formas convencionais. Note-se que Tutaméia não é uma obra cômica, mas foi composta a partir da perspectiva cômica, o que parece corresponder a uma vertente do pensamento moderno que valoriza o cômico por permitir a liberação do censurado, por dar acesso a tudo o que é excluído como \"não oficial\", \"não sério\", e que no entanto participa da totalidade (Dasein). A questão da comicidade ganha extraordinária complexidade na obra, confundindo-se muitas vezes com outros procedimentos (o estranhamento, a ironia, o grotesco) e sugerindo a dissolução das formas: há elementos trágicos, épicos, míticos, dramáticos, fantásticos, cinematográficos; além do minimalismo das estórias, do desdobramento cubista de perspectivas, da sondagem subjetiva etc. Enfim, o manejo do cômico em Tutaméia culmina num sistema de pluralidade e simultaneidade de perspectivas. / In his Tutaméia, Guimarães Rosa proposes and experiments with a very peculiar approach to the comical, whose purpose, rather than cause laughter, is to lead to new systems of thought. The main subject of the first preface of Tutaméia is the nature and procedures of the comical, whose importance is attributed to its ability to unmake stereotypes, opening up room for new possilibilities, for the \'unexpected\' (etymological meaning of the Portuguese word \"anedota\" - joke). Elements of the comic can be found throughout the whole of Tutaméia: its four prefaces retake, in a special way, the parabasis, an exclusive part of the classical comedy; many of its stories are structured according to the comical forms (the same ones discussed in the first preface); even in the composition of sentences or words, the comical process seems to be the guideline. The comical point of view in this work of Rosa fulfills many functions. One of them woud be to disclose the mistakes of commonplace reasoning and values, since it widens the possibilities of representation when it incorporates other \"kinds of logic\", usually banished from the realm of what is considered serious thought, as is the case of the reasoning of the insane, the child, the criminal, the clown and the such. Some comical procedures discussed - it would be the case of the \"process of niilificação\" and of the \"definition from extration\" - and also perceived in stories, would be ways of accessing the \"nothing\", widely recurrent subject which is also part of the title: Tutaméia means \"almost nothing\". The comical, still, would contribute to extend the range of reach of language itself: on unmaking clichés, it allows the apprehension of reality not grasped by common sense or conventional thought. Lastly, Tutaméia is not a comedy in itself, but it was composed from the comical perspective, what seems to correspond to the modern philosophical thought that values the comical for allowing the release of censured contents, for allowing access to what is excluded as \"not official\", \"not serious\", and that however participates in the totality (Dasein). The question of the comical gains extraordinary complexity in Tutaméia, confusing itself many times with other procedures (such as the strangeness, the irony, the grotesque) and allowing the dissolution of the forms: it has tragic, epic, mythical, dramatical, cinematographic elements; beyong the minimalism of the stories, the cubist unfolding of perspectives, the subjective sounding. The handling of the comical in Tutaméia culminates in a system of plurality and concurrence of perspectives.

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