Chapter section的問題，透過圖書和論文來找解法和答案更準確安心。 我們找到下列各種有用的問答集和懶人包

Both Sides of the Wire - Disaster at Dawn: Somme 1916: Preliminaries and First Moves

為了解決Chapter section的問題，作者Cave, Nigel/ Sheldon, Jack 這樣論述：

Both Sides of the Wire is the first in a new series of battlefield guides that looks at the fighting on the Western Front, chiefly in the sectors in which the British Expeditionary Force was engaged. In these books, Nigel Cave and Jack Sheldon will look at engagements from both the allied and Ger

man perspective; at the end of each chapter there will be a tour section so that readers can place themselves in the best vantage points to follow the action that is described on the ground and which is directly related to the narrative account that will form the bulk of each chapter. This book deal

s with the Somme up to and including the first day or two of the infantry assault on 1 July. In addition to the familiar British sector, the authors intend to cover those parts of the Somme battlefield that were (largely) fought over by the French. Although there is much to see of the 'French' Secto

r, it is generally poorly served by published guides despite the fact that there are numerous signs of the Great War of the ground, many accessible to the public. With the concentration on 1st July and the subsequent months, there is relatively little about what happened on the Somme from the establ

ishment of the line there in October 1914 to the summer 1916 offensive. For example, this involved extensive mine warfare, of which very few traces remain, but for which there is excellent contemporary mapping and some useful accounts. Because of the considerable amount of literature already availab

le on the British sector of the Somme, the authors will be concentrating on particular aspects - areas selected include: Gommecourt (56th London Division); Serre (the French attacks of June 1915); the Heidenkopf; raids prior to I July around Beaumont Hamel; the Schwaben Redoubt, the German defence p

lan and what happened on the day; the Glory Hole and the fighting there from December 1914; the area around King George's Hill, near Fricourt; the attacks and counter attacks at Montauban on 1 - 3 July 1916; a very successful limited German assault at Feuilleres in January 1916; the line at Dompierr

e and Fey, in particular mine warfare (and also some coverage of the brief tenure of the line in this area by the British in the autumn of 1915). The book is aimed at anyone with an interest in the war, in the Somme in particular and, whilst acting as a guide, it will also be of value to those who c

annot get to the Somme themselves, with the authors aiming at a more balanced understanding of what happened and explaining the outcomes at the various locations.

Chapter section進入發燒排行的影片

二維材料於邏輯元件與記憶體內運算應用

為了解決Chapter section的問題，作者鍾昀晏 這樣論述：

半導體產業在過去半個世紀不斷地發展，塊材材料逐漸面臨電晶體微縮的物理極限，因此我們開始尋找替代方案。由於二維材料天生的原子級材料厚度與其可抑制短通道效應能力，被視為半導體產業極具未來發展性材料。此篇論文為研究二維材料二硫化鉬的N型通道元件之製作技術與其材料的特性與應用。首先，我們使用二階段硫化製程所製備的二硫化鉬沉積高介電材料並使用X-射線能譜儀（XPS）與光致發光譜（PL）進行分析，量測二硫化鉬與四種高介電材料的能帶對準，參考以往製程經驗，可結論二氧化鉿是有潛力介電層材料在二硫化鉬上，並作為我們後續元件的主要閘極介電層。接著使用二階段硫化法製作鈮（Nb）摻雜的二硫化鉬，Ｐ型的鈮摻雜可提升載

子摻雜濃度用以降低金半介面的接觸電阻，透過不同製程方式製作頂部接觸和邊緣接觸的兩種金半介面結構，傳輸線模型(TLM)分析顯示出，邊緣接觸結構比頂部接觸結構的接觸電阻率低了兩個數量級以上，並藉由數值疊代方式得知層間電阻率是導致頂部接觸結構有較高接觸電阻率主因，並指出邊緣接觸之金半介面在二維材料元件的潛在優勢。在電晶體研究上，我們使用化學氣相沉積（CVD）合成的二硫化鉬成功製作出單層Ｎ型通道元件，將此電晶體與記憶體元件相結合，用雙閘極結構將讀（read）與寫（write）分成上下兩個獨立控制的閘極，並輸入適當脈衝訊號以改變儲存在電荷儲存層的載子量，藉由本體效應（Body effect）獲得足夠大的

記憶區間（Memory window），可擁有高導電度比（GMAX/GMIN = 50）與低非線性度（Non-linearity= -0.8/-0.3）和非對稱性（Asymmetry = 0.5），展示出了二維材料在類神經突觸元件記憶體內運算應用上的可能性。除了與記憶體元件結合外，我們亦展示二維材料電晶體作為邏輯閘的應用，將需要至少兩個傳統矽基元件才可表現的邏輯閘特性，可於單一二維材料電晶體上展現出來，並在兩種邏輯閘（NAND/NOR）特性作切換，二維材料的可折疊特性亦具有潛力於電晶體密度提升。我們進一步使用電子束微影系統製作奈米等級短通道元件，首先使用金屬輔助化學氣相沉積 (Metal-as

sisted CVD)方式合成出高品質的二維材料二硫化鎢 (WS2)，並成功製作次臨界擺幅（Subthreshold Swing, S.S.）約為97 mV/dec.且高達106的電流開關比（ION/IOFF ratio）的40奈米通道長度二硫化鎢Ｐ型通道電晶體，其電特性與文獻上的二硫化鉬N型通道電晶體可說是相當，可作為互補式場效電晶體。另一方面，深入了解二維材料其材料特性後，可知在厚度縮薄仍可保持極高的機械強度，有潛力作為奈米片電晶體的通道材料。故於論文最後我們針對如何透過對元件製作優化提供了些許建議。

Ceramic Masterpieces: Art, Structure and Technology

為了解決Chapter section的問題，作者Vandiver, Pamela B./ Kingery, W. David 這樣論述：

Ceramic Masterpieces: Art, Structure andTechnology was first published by the Free Press in 1986. It won a publisher's award for art (American Publishers' Association, Scholarly and Technical, Honorable Mention, 1986). The copyright is held by David Kingery's son, William D. Kingery, Jr., who ab

out 11 years ago signed over to the American Ceramic Society the rights to publish a second edition of the book. This second edition is divided into four parts. In the introductory section, it states: "The appearance of a ceramic is determined by its internal structure, which is in turn determined b

y the technology of its manufacture. Revolutionary new methods of study and analysis have advanced out understanding of ceramics. This book applies these new methods, connecting visual impact, internal structure, and technology for a deeper appreciation of ceramic masterpieces." Each chapter outline

s the transformative art and structure of a ceramic material by providing a general outline of history, artistic value, antecedent technologies, manufacture of the particular dated example, analysis of macrostructure, then microstructure, then composition, then firing, variability and its relation t

o appearance, and finally significance of technology and its contribution to art and culture. In the ceramic technology section, the sequences and variability of processing, exemplified in the case studies, is inventoried with emphasis on structure and transformation.

《山海經》幻角新造－陳慧雯水墨創作論述

為了解決Chapter section的問題，作者陳慧雯 這樣論述：

本創作論述統整筆者2019至2021 年期間作品，以分析《山海經》內容角色為延伸，加上自身經驗幻化出創作，傳遞對於現代社會的省思和價值觀，從出社會工作到教師甄試的艱辛，親情間難以言喻的情緒糾結，經歷生與死的傷痛過程，體悟出人間百態進而闡述的觀感。從《山海經》眾多圖像中，多以天地神祇、幻獸和異域奇國之研究探討，透過奇幻角色做新的改造，以人之型態為主要呈現，常利用裝飾性物件來隱喻生活中的魔鬼細節，深藏在某一處而不自知。本文共分五個章節，首章「緒論」，說明本研究動機是筆者自小喜愛怪誕神話故事，進而走入《山海經》旅程一探究竟。第二章「山海經世界」，發現起源最早無法肯定，讓這部奇書更帶有神祕色彩，內容

上包含地理概念和數百個神話形象做五大分類，至於歷代圖像介紹由明清時期到現代版本，發現各時期作品風格不同和充滿多樣性。第三章「創作淵源與理念」，看見神話的影響力並討論神話的產生和價值，隨著歷史的流逝，看見多元的神話圖像，並分析其中西繪畫精神的差異，末節重點在個人山海經創作中的思維與風格，以個人生命經驗和融合中西技法為創作風格，包含工筆、水墨、西方寫實明暗和漫畫元素。第四章「作品解析」分三系列，「逆天之神系列」共三幅，講述筆者的叛逆之心，艱辛過程中找到了勇氣；「吾說之國系列」共九幅，談到工作職場上的應對進退，並嘗試幽默化解危機；「靈性之獸系列」共三幅，從眾獸中看見萬物之道，喚起自我深處的童心。第五

章「結論」，此章總結本文主旨，並進一步說明未來發展。