The purpose of this study is to examine I. M. Pei and his partner Harry Cobb's downtown Dallas architecture within the context of their overall stylistic development. This paper explores the structure of five buildings within the framework of the city, and addresses their possible influence on the city's future architectural direction. The thesis is divided into six chapters. Chapter I introduces and states the problem as it discusses the fabric of Dallas architecture. Chapter II outlines a brief biography of I. M. Pei, looking to those who have influenced him, while discussing the key public buildings of his stylistic development. Chapter III is devoted to Pei's first structure in the city, the Dallas Municipal Administration Center. Chapter IV explores the concepts of his planned Morton H. Meyerson Symphony Center. Chapter V outlines a brief biography and focuses on the work of Harry N. Cobb: One Dallas Centre, ARCO Tower, and the Allied Bank Tower. Chapter VI summarizes the contributions of Pei and Cobb by placing them within the context of twentieth century architecture, and pointing out their specific achievements with their additions to the fabric of Dallas architecture.

The purpose of this study was to determine whether The Large Glass was a negation of women for Marcel Duchamp. The thesis is composed of five chapters. Chapter I is the introduction to the thesis. CHapter II includes a synopsis of the major interpretations of The Large Glass. Duchamp's statements in regard to The Large Glass are also included in Chapter II. Chapter III explains how The Large Glass works through the use of Duchamp's notes. Chapter IV investigates Duchamp's negation of women statement in several ways. His personal relationships with relatives including his wives and other women, and his early paintings of women were examined. His idea of indifference was seen within the context of the Dandy and his alter ego, Rrose Selavy as a Femme Fatale. His machine paintings are also seen as a part of his idea of detachment and negation of women. Detachment as an intellectual pursuit was probed with his life-long interest in chess. The Large Glass was then seen as not only showing inconographically a negation of women but also as being an intrinsic component of his life and his work.