This dissertation develops a narrative homiletic for race-conscious preaching using a mutual critical correlation method. It argues that the evangelical embrace of a color-blind ideology homiletically, hermeneutically, and situationally limits the proclamation of the gospel in the age of racialization. Paul Ricoeur’s conception of the entrapping use of narrative is employed to understand the deep resistance many white evangelical Christians have toward racial consciousness. Constructively, Ricoeur’s ethical understanding of narrative and his model of threefold mimesis offer an alternative preaching paradigm rooted in mutual critical correlation and an understanding of the gospel in context developed in conversation with liberationist theology. The Developmental Model of Intercultural Sensitivity provides additional frames for understanding that matters of difference are not obstacles to overcome in preaching but are essential to deepening understandings of God and the gospel. This dissertation employs interdisciplinary methods rooted in practical theology that integrate Eduardo Bonilla-Silva’s sociology on color-blindness, narrative phenomenology, empirical research on the Developmental Model of Intercultural Sensitivity, and homiletics. The first chapter describes the evangelical embrace of color-blindness and its expository homiletical method. It understands evangelicalism as a constructed identity and outlines the need for a hermeneutic of situations in evangelical homiletics. Chapter two reviews narrative homiletics proposals, the homiletics literature on race and preaching, and evangelical expository preaching. The third chapter makes a theological turn to understand how evangelical theology aligns with the color-blind ideology. It turns to the liberationist theology of James Cone and a theology of broken symbols through Robert Cummings Neville, before outlining the mutual critical correlation model of David Tracy. This integrates homiletical theology with homiletical methodology, especially by understanding pre-figuring roles that aspects of identity bring to interpretation. The fourth chapter develops narrative critical correlation homiletics through the referential capacity of the gospel, rather than the sense of a biblical text. It argues that an ethical use of Ricoeur’s threefold mimesis can mediate a dialogue between text, context, situation, and identity in naming God and the gospel. The final chapter contains sermons and sermon analysis as a way of illustrating how sermonic methods and intercultural competence impact preaching. / 2026-01-23T00:00:00Z

In 21st century Scandinavia, the use of colored paint in the built environment has decreasedconsiderably. Instead, color changing LEDs can be found in many homes. In this thesis, an experimentwas set up to investigate how these two coloring methods differ and coincide with regards toemotional response and perception of materiality. Four cubicles, two painted and two colored bylight, were evaluated by ten participants. The painted cubicles were perceived as more material intheir appearance with regards to texture and color than their counterparts. A greater feeling ofnervousness, stress, and disorientation was felt in the light-colored cubicles as opposed to aheightened feeling of inspiration, excitement and calmness in the painted cubicles. Though it isimportant to remember the difference was not significant. In addition, preconceived connotations tothe color tone could be an influencing factor and so further studies on additional tones should beconducted. Lastly, benefits and drawbacks with the coloring methods were discussed.

Various cultures interpret visual rhetoric differently; therefore, technical communicators must adjust their rhetoric accordingly by creating effective visual rhetoric for their international and multicultural audiences. Although there is a great deal of research in the field regarding how to create effective visual rhetorical rhetoric, this research often fails to take into international and multicultural audiences into consideration. Many visual rhetoric solutions proposed in technical communication involve 'catch all' approaches that do little to communicate to people of non-Western cultures and can even serve to offend or confuse international and multicultural audiences. These solutions are generated by a globalization mindset, but are not realistic when we acknowledge how varied technical communication audiences are with regard to culture. The globalization approach also fails unless technical communicators intend to limit the reach of their communication to certain types of Western audiences. To create the most useful visual rhetoric, technical communicators must learn to use color, graphics, icons/symbols, and layouts (web and print) appropriately for audiences. They must learn more about different types of cultures (individualistic or collectivistic, universalist or particularist, high-context or low-context, high uncertainty avoidance or low uncertainty avoidance, monochronic or polychronic, linear thinking or systemic thinking, masculine or feminine), and they must address these different cultural expectations accordingly.

In this thesis, I explore the following question: what is the relationship between representations of Puerto Rican identity and representations of Puerto Rican social roles in the United States and Puerto Rico? I use articles from the New York Times to analyze the discursive structure of this relationship. Drawing from a systematic random sample of 683 articles from the NYT archives from two time periods before and after the ratification of the Puerto Rican Constitution (1948 to 1952 and 1952 to 1958), I find nuanced accounts that promote a representation of Puerto Ricans as a perpetually “foreign” immigrant group, a form of “American Exceptionalism” that simultaneously criticizes U.S. colonialism and perpetuates U.S. supremacy to ultimately frame Puerto Ricans as U.S. citizens but not as authentically belonging “Americans,” and an ongoing racialization of Puerto Ricans as a group that does not fit within the traditional black/white color-line of the U.S.

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