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This course consists of two parts: 'Nanofabrication' deals with the fabrication of structures that are smaller than 100 nm, while 'Microscopy' concerns the visualisation of such small features. Advanced optical lithography concepts are illustrated by a computer simulation lab with the industry-standard software "GenISys LAB".

We start with a general overview of nanotechnology, explaining why the properties of materials are so different at the nanoscale compared to the microscale. The difference between top-down and bottom-up fabrication is explained and the ultimate industrial nanofabrication process (CMOS) is outlined, including the technological issues related to further scaling according to Moore's Law.

After introducing general microscopy concepts such as magnification, resolution, depth of field and contrast, it is discussed how image formation is achieved in optical microscopy. Many of the principles of optical microscopy also apply to the next topic. Optical lithography is crucial for top-down nanofabrication (and CMOS scaling) because it defines the smallest feature size that can be fabricated. The historical development of optical lithography is presented, up to the present state-of-the-art and looking forward to future developments of this patterning technique.

We then switch back to the microscopies: transmission electron microscopy and scanning electron microscopy enable visualisation of nanoscale structures but image formation, resolution, contrast mechanism and sample preparation are quite different. The images of MOSFET cross-sections will be explained. These particle beam techniques are also used in fabrication: e-beam writing is a serial lithography that enables ~10 nm patterns, while focused ion beam milling has numerous applications in nanofabrication.

We finish the nanofabrication component with a brief description of bottom-up processes such as the chemical synthesis of carbon nanotubes, silicon nanowires and gold nanoparticles. This is put in the context of fabricating nanoelectronic devices by a mix of top-down and bottom-up fabrication processes. For example, carbon nanotubes can be grown in between micro-electrodes by patterning these with a catalyst material. Similar examples from the recent literature will be highlighted.

The computer lab sessions involve simulations of photoresist exposure for different optical lithography techniques and explores various resolution enhancement methods that enable nanometer scale patterning in general and advanced CMOS scaling in particular. As part of the lab you will design your own photomask. The GenISys LAB lithography simulation software is used in commercial nanofabrication facilities and is only available for this module because of a special agreement with the company.

Please note that ELEC6206 Nanofabrication and Microscopy (see the Notes directory for info slides) does not deal with fabrication techniques that are essentially the same as for microfabrication. Etching, deposition and process flow are explained in detail in ELEC6201 Microfabrication, and this module is a prerequisite for ELEC6206 Nanofabrication and Microscopy.

This course aims to provide you with an insight into some of the current research in nanoscience and an understanding of the underlying nanophysics. The field of nanoscience is multidisciplinary covering materials science, photonics, chemistry and biology amongst other disciplines. It is not possible to cover all aspects of this field in a single course. Therefore, topics have been chosen based upon their importance and to enable us to exploit research ongoing at the University of Southampton to give a real feel for the cutting edge.

This course aims to provide you with an insight into some of the current research in nanoscience and an understanding of the underlying nanophysics. The field of nanoscience is multidisciplinary covering materials science, photonics, chemistry and biology amongst other disciplines. It is not possible to cover all aspects of this field in a single course. Therefore, topics have been chosen based upon their importance and to enable us to exploit research ongoing at the University of Southampton to give a real feel for the cutting edge.

This course aims to provide you with an insight into some of the current research in nanoscience and an understanding of the underlying nanophysics. The field of nanoscience is multidisciplinary covering materials science, photonics, chemistry and biology amongst other disciplines. It is not possible to cover all aspects of this field in a single course. Therefore, topics have been chosen based upon their importance and to enable us to exploit research ongoing at the University of Southampton to give a real feel for the cutting edge.

This course aims to provide you with an insight into some of the current research in nanoscience and an understanding of the underlying nanophysics. The field of nanoscience is multidisciplinary covering materials science, photonics, chemistry and biology amongst other disciplines. It is not possible to cover all aspects of this field in a single course. Therefore, topics have been chosen based upon their importance and to enable us to exploit research ongoing at the University of Southampton to give a real feel for the cutting edge.

This course aims to provide you with an insight into some of the current research in nanoscience and an understanding of the underlying nanophysics. The field of nanoscience is multidisciplinary covering materials science, photonics, chemistry and biology amongst other disciplines. It is not possible to cover all aspects of this field in a single course. Therefore, topics have been chosen based upon their importance and to enable us to exploit research ongoing at the University of Southampton to give a real feel for the cutting edge.

Napoleon Bonaparte (1769-1821) may have been a tyrant in life but he proved to be a surprisingly malleable figure after death. This module traces the emergence in France and Britain of Napoleon’s reputation, whether as tyrant, martial hero, saviour of the French nation or destroyer of French liberty. Napoleon was a superb publicist and we will see that during his life time – before and after the seizure of state power in 1799 and the coronation as emperor in 1804 – he carefully cultivated an image of himself as both authoritarian and a ‘man of the people’.

In reading the memoirs of Napoleonic soldiers, and in considering British caricature and other sources published during the revolutionary and Napoleonic wars, we will attempt to prise apart Napoleon’s self-presentation from the attitudes of others. Furthermore, through an encounter with Napoleon’s own correspondence and personal effects we will try to disentangle the private man from the public figure, and ask how defeat and exile at the hands of the British may have changed him.

Most of all, we will examine how a cult of Napoleon was created and reshaped in subsequent contexts, focusing in particular on its instrumentalization in political and historical writings. Because Napoleon could represent the populism and liberty of the revolution without the anarchy of the Terror; reconciliation with the Catholic Church without clerical reaction; and order and hierarchy without a return to the despotism of the ‘old regime’ he was an appealing figure to a whole array of monarchists, liberals and republicans in France over the entire 19th century. That is why the liberal July Monarchy (1830-1848) did so much to make the Napoleonic cult official by completing the Arc de Triomphe in his honour (1836) and by re-interring his remains in the mausoleum at Les Invalides in 1840.

In the process of tracing the Napoleonic cult through these years to the early 20th century, you will see how difficult it has been in France to disentangle the memory and status of the general from that of the revolution; and you will come to understand how Napoleon’s reputation as a ‘great man’ could survive the catastrophic defeats of 1814-15. In historicising the cult of Napoleon in this way, you will grasp the importance for historical practice of seeing the past and present in a continual dialogue where the former is mobilised in a struggle to master the latter.

Napoleon Bonaparte (1769-1821) may have been a tyrant in life but he proved to be a surprisingly malleable figure after death. This module traces the emergence in France and Britain of Napoleon’s reputation, whether as tyrant, martial hero, saviour of the French nation or destroyer of French liberty. Napoleon was a superb publicist and we will see that during his life time – before and after the seizure of state power in 1799 and the coronation as emperor in 1804 – he carefully cultivated an image of himself as both authoritarian and a ‘man of the people’.

In reading the memoirs of Napoleonic soldiers, and in considering British caricature and other sources published during the revolutionary and Napoleonic wars, we will attempt to prise apart Napoleon’s self-presentation from the attitudes of others. Furthermore, through an encounter with Napoleon’s own correspondence and personal effects we will try to disentangle the private man from the public figure, and ask how defeat and exile at the hands of the British may have changed him.

Most of all, we will examine how a cult of Napoleon was created and reshaped in subsequent contexts, focusing in particular on its instrumentalization in political and historical writings. Because Napoleon could represent the populism and liberty of the revolution without the anarchy of the Terror; reconciliation with the Catholic Church without clerical reaction; and order and hierarchy without a return to the despotism of the ‘old regime’ he was an appealing figure to a whole array of monarchists, liberals and republicans in France over the entire 19th century. That is why the liberal July Monarchy (1830-1848) did so much to make the Napoleonic cult official by completing the Arc de Triomphe in his honour (1836) and by re-interring his remains in the mausoleum at Les Invalides in 1840.

In the process of tracing the Napoleonic cult through these years to the early 20th century, you will see how difficult it has been in France to disentangle the memory and status of the general from that of the revolution; and you will come to understand how Napoleon’s reputation as a ‘great man’ could survive the catastrophic defeats of 1814-15. In historicising the cult of Napoleon in this way, you will grasp the importance for historical practice of seeing the past and present in a continual dialogue where the former is mobilised in a struggle to master the latter.

Writing is inherently an interdisciplinary art. From novelists to poets to narrative non-fiction writers, writers tend to delve into fields that are not their own. Ian McEwan shadows neurologists for several years as he was researching Saturday; Hilary Mantel writes about Thomas Cromwell in her Wolf Hall trilogy; Seamus Heaney wrote about the “Troubles” in countless poems. In narrative non-fiction, this is almost exclusively the case. Truman Capote spent years researching four murders in a small town in Kansas for In Cold Blood. Antony Beevor delves into World War II to bring Stalingrad to life. Susan Sontag explores the art of the camera in On Photography.

This module will offer you the chance to explore the world of narrative non-fiction, allowing you to research a field that you wish to investigate – be it art, medicine, history, biology or current events. At the same time, you will learn both how to conduct research (through documents, observations, interviews, etc.) as well as the fundamental techniques of telling a true story. You will also look at memoir, especially as it engages with the outside world.

The module will consist of lectures that address techniques in narrative non-fiction as well as the structure and techniques in particular narrative non-fiction texts, while also including talks from lecturers in different disciplines who write about their work for an audience outside their own field. The seminars will consist of workshops in which student work is critiqued, interlaced with discussions of issues in creative non-fiction such how to tell a story that creates characters, places and suspense without straying from the truth, when to use first person, the role of the writer as character, and whether it is ever acceptable to alter details to construct a story.

The module is aimed at both MA Creative Writing and MA English students who might have an interest in writing about their own subject for a non-specialist audience. The skills required for writing creative non-fiction is helpful in any mode of creative writing and in any field, so this module will help you to develop as a writer whatever your plans and ambitions may be.
While you will practice non –fiction writing during the term, the assessment may, upon consultation with the module convenor, be made into a fictional piece or a series of poems – recognizing the interdisciplinary quality of creative writing.

Writing is inherently an interdisciplinary art. From novelists to poets to narrative non-fiction writers, writers tend to delve into fields that are not their own. Ian McEwan shadows neurologists for several years as he was researching Saturday; Hilary Mantel writes about Thomas Cromwell in her Wolf Hall trilogy; Seamus Heaney wrote about the “Troubles” in countless poems. In narrative non-fiction, this is almost exclusively the case. Truman Capote spent years researching four murders in a small town in Kansas for In Cold Blood. Antony Beevor delves into World War II to bring Stalingrad to life. Susan Sontag explores the art of the camera in On Photography.

This module will offer you the chance to explore the world of narrative non-fiction, allowing you to research a field that you wish to investigate – be it art, medicine, history, biology or current events. At the same time, you will learn both how to conduct research (through documents, observations, interviews, etc.) as well as the fundamental techniques of telling a true story. You will also look at memoir, especially as it engages with the outside world.

The module will consist of lectures that address techniques in narrative non-fiction as well as the structure and techniques in particular narrative non-fiction texts, while also including talks from lecturers in different disciplines who write about their work for an audience outside their own field. The seminars will consist of workshops in which student work is critiqued, interlaced with discussions of issues in creative non-fiction such how to tell a story that creates characters, places and suspense without straying from the truth, when to use first person, the role of the writer as character, and whether it is ever acceptable to alter details to construct a story.

The module is aimed at both MA Creative Writing and MA English students who might have an interest in writing about their own subject for a non-specialist audience. The skills required for writing creative non-fiction is helpful in any mode of creative writing and in any field, so this module will help you to develop as a writer whatever your plans and ambitions may be.
While you will practice non –fiction writing during the term, the assessment may, upon consultation with the module convenor, be made into a fictional piece or a series of poems – recognizing the interdisciplinary quality of creative writing.