ASU Electronic Theses and Dissertations
This collection includes most of the ASU Theses and Dissertations from 2011 to present. ASU Theses and Dissertations are available in downloadable PDF format; however, a small percentage of items are under embargo. Information about the dissertations/theses includes degree information, committee members, an abstract, supporting data or media.
In addition to the electronic theses found in the ASU Digital Repository, ASU Theses and Dissertations can be found in the ASU Library Catalog.
Dissertations and Theses granted by Arizona State University are archived and made available through a joint effort of the ASU Graduate College and the ASU Libraries. For more information or questions about this collection contact or visit the Digital Repository ETD Library Guide or contact the ASU Graduate College at gradformat@asu.edu.
The second flow that was created was used to put together a flash block that is based off of a XILIX XCFXXP. This flow was somewhat similar to how the pad ring flow worked except that optimizations and a clock tree was added into the flow. There was a couple of design redoes due to timing and orientation constraints.
Finally, the last flow that was created was the top level flow which is where all of the components are combined together to create a finished test chip ready for fabrication. The main components that were used were the finished flash block, HERMES, test structures, and a clock instance along with the pad ring flow for the creation of the pad ring and power ring.
Also discussed is some work that was done on a previous multi-project test chip. The work that was done was the creation of power gaters that were used like switches to turn the power on and off for some flash modules. To control the power gaters the functionality change of some pad drivers was done so that they output a higher voltage than what is seen in the core of the chip.
Even though Puccini's triptych garnered primarily negative reviews, the basis for this negativity was the perception that Il Trittico had broken with the historically traditional Italian musical styles. Though the present study acknowledges that break to a degree, it will also present a historically based rationale for the deviation, one left largely unnoticed by Puccini's critics. In the end, this author plans to realize their symbolic importance as a farewell to three uniquely Italian styles and a departure point for a new operatic tradition. Looking forward to the centenary of the work, this author seeks to illuminate how Puccini reached the pinnacle of firmly rooted genres of Italian opera. Ultimately this might help to unravel the enigma of Il Trittico while it continues to secure its rightful place as one of the masterpieces of the Puccini canon.