• Proceedings of the Korean Vacuum Society Conference
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• 2011.02a
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• pp.199-199
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• 2011

Recently, Thin film transistors (TFTs) with amorphous oxide semiconductors (AOSs) can offer an important aspect for next generation displays with high mobility. Several oxide semiconductor such as ZnO, $SnO_2$ and InGaZnO have been extensively researched. Especially, as a well-known binary metal oxide, tin oxide ($SnO_2$), usually acts as n-type semiconductor with a wide band gap of 3.6eV. Over the past several decades intensive research activities have been conducted on $SnO_2$ in the bulk, thin film and nanostructure forms due to its interesting electrical properties making it a promising material for applications in solar cells, flat panel displays, and light emitting devices. But, its application to the active channel of TFTs have been limited due to the difficulties in controlling the electron density and n-type of operation with depletion mode. In this study, we fabricated staggered bottom-gate structure $SnO_2$-TFTs and patterned channel layer used a shadow mask. Then we compare to the performance intrinsic $SnO_2$-TFTs and doping hafnium $SnO_2$-TFTs. As a result, we suggest that can be control the defect formation of $SnO_2$-TFTs by doping hafnium. The hafnium element into the $SnO_2$ thin-films maybe acts to control the carrier concentration by suppressing carrier generation via oxygen vacancy formation. Furthermore, it can be also control the mobility. And bias stability of $SnO_2$-TFTs is improvement using doping hafnium. Enhancement of device stability was attributed to the reduced defect in channel layer or interface. In order to verify this effect, we employed to measure activation energy that can be explained by the thermal activation process of the subthreshold drain current.

• Proceedings of the Korean Institute of Electrical and Electronic Material Engineers Conference
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• 2006.05a
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• pp.101-102
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• 2006

BTO ($BaTiO_3$) thin film is one of the high dielectric materials for high-density dynamic random access memories (DRAMs) due to its relatively high dielectric constant, It is generally known that BTO film is difficult to be etched by plasma etching, but high etch rate with good selectivity to pattern mask was required. The problem of sidewall angle also still remained to be solved in plasma etching of BTO thin film. In this study, we first examined the patterning possibility of BTO film by chemical mechanical polishing (CMP) process instead of plasma etching. The sputtered BTO film on TEOS film as a stopper layer was polished by CMP process with the sell-developed $BaTiO_3$- and $TiO_2$-mixed abrasives slurries (MAS). respectively. The removal rate of BTO thin film using the $BaTiO_3$-mixed abrasive slurry ($BaTiO_3$-MAS) was higher than that using the $TiO_2$-mixed abrasive slurry ($TiO_2$-MAS) in the same concentrations. The maximum removal rate of BTO thin film was 848 nm/min with an addition of $BaTiO_3$ abrasive at the concentration of 3 wt%.

• (The) Research of the performance art and culture
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• no.37
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• pp.5-31
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• 2018

The mask dance drama Goseong Ogwangdae's first act, Mundung Bukchum. The story is about a man who was born to the upper class but contracted leprosy, an incurable disease, due to his ancestors' accumulated sin. Although he is suffering, he is able to triumph over the disease through sinmyeong (catharsis) that is expressed through the wordless act of Mundung Bukchum. This thesis focuses on Goseong Ogwangdae's Mundung Bukchum, particularly the meaning, costume, accompanying music, and process of pedagogical transmission. The chronological characteristics of Goseong Ogwangdae's Mundung Bukchum are as follows. First, as time goes on, the number of dance motions in Mundung Bukchum has increased and the motions used have become reified. Second, I address the small barrel drum used in Mundung Bukchum and check how, through the drum, the changed expression of Mundung is shown.In a 1965 video introduced Mundung is grasping the drum and stick and the dance appears to be made up only of humorous motions. Also in a 1969 video, "Mundung Gwangdae," from the start Mundung is grasping the drum and stick. In 1988 in a video we can see the same scene as today, with the drum and stick sitting in the center of the stage at the start of the dance. We can also confirm that the same fourteen dance motions used today are present. Third, we can also confirm the changes in Goseong Ogwangdae's signature motion, baegimsae as time goes on. Observing the video from 1965, baegimsae does not appear in Mundung Bukchum. In 2000 we can clearly see the baegimsae performed once to the left and to the right while Mundung is squatting. Comparing 1969 to 1988, there is no symmetry in the motions, baegimsae is not done to both left and right, but only in one direction. Watching the record from 2000, the baegimsae motion is performed just as it is now, with the body thrown forward with a sharp push off the ground. Fourth I confirmed how the music used to accompany Goseong Ogwangdae's Mundung Bukchum has changed over time. In 1965 according to records of Mundung Bukchum's appearance, the dance was accompanied by the taryeong rhythmic pattern played on the usual four percussion instruments (barrel drum, hourglass drum, large gong, small gong). In the 1969 records of Mundung Bukchum the accompanying music is gutgeori rhythmic pattern performed on the usual four percussion instruments-an obvious difference. In 1988 the music with Mundung Bukchum is gutgeori rhythmic pattern transitioning into jajinmori rhythmic pattern. In 2000 the music with Mundung Bukchum includes the percussion instruments as well as taepyeongso (double reed oboe) playing gutgeori and jajinmori rhythmic patterns.