The relationship between performer and spectator is a constant topic in theatre since audiences are essential to any performance. Some contemporary performances strive to blur the line between the two by allowing audiences to participate during the show. Often, audience participation is despised and therefore avoided by spectators and theatre practitioners. However, Blue Man Group thrives on it due to their authentic character, adaptable narrative, and accessible space. Through my examination of the show as an audience member, I theorize that these three elements control the audience's willingness to participate in the production and in turn make the entire experience more rewarding and memorable as performer and spectator share roles in order to create this performance. Chris Wink, Matt Goldman, and Phil Stanton co-founded Blue Man Group in 1987, and received their first official venue in 1991. Blue Man Group is a ninety-minute variety show that utilizes rock music, theatrical vignettes, and experiments with science, art, and modern technology to explore the ways in which humans express and communicate. This unprecedented show performs in multiple locations daily throughout the United States, Germany, and has also captivated audiences of all ages around the world. The most popular and recognizable element to the show is the humanoid Blue Man character. He does not speak or make large facial expressions. Instead, he mainly observes intently and follows commands, much like a spectator. His original physical attributes, honest behavior and communication, and authoritative presence through three performers grant him authenticity. His unique personality draws in an audience's interest and investment in the character and the entire production. The co-founders identify the Blue Man Group adaptable narrative as “Neo-Vaudeville”, mixing many forms of science and art together. The cast, crew, and audience take part in the show through tribal training, developing communitas as they watch and learn, call and respond, to the show's commands. The pieces that contain audience participation utilize various types of invitation, coaxing audiences into participation in effective ways. Through an exploration of visual and aural perception, spatial fluidity, and technology, Blue Man Group's use of space connects its audiences to the performance and helps them consider more deeply their connections with others. Thus people often participate during the show and enjoy doing so. This level of investment and excitement is necessary for successful audience participation. Thus Blue Man Group is a blue print for how live theatre can form a powerful relationship with audiences.

Face-to-face communication is always complemented with non-verbal signals that give us clues as to how a message shall be interpreted, but as communication is moved online the possibilities to express oneself becomes more limited. This paper focuses on the instant messaging client Windows Live Messenger and three of the non-verbal functions that it provides (nudges, winks and emotes). The purpose of the paper and its underlying study is to compare the senders' intentions with the receivers' conceptions when it comes to these functions. The study was done as a questionnaire with two different versions of the questions, one looking at the senders' intentions and the other at the receivers' conceptions. The results were then compared in order to look for tendencies. The results showed that the most common intention among the senders was also the most common conception among the receivers, but that the rest of the attitudes didn't match at all. The functions that are supposed to help the conversation flow often create ambiguity instead and lead to vagueness, misconceptions and annoyance. / Kommunikation som sker ansikte mot ansikte kompletteras alltid med icke-verbala signaler som ger ledtrådar till hur ett budskap ska tolkas, men i och med att kommunikationen flyttas online begränsas möjligheterna att uttrycka sig. Uppsatsen fokuserar på chatt-tjänsten Windows Live Messenger och tre av de icke-verbala funktioner som den tillhandahåller (vibbar, blinkningar och uttryckssymboler). Syftet med uppsatsen och dess bakomliggande studie är att jämföra avsändarnas avsikter med mottagarnas uppfattningar när det gäller dessa funktioner. Studien utfördes med kvantitativ metod i form av en enkätundersökning. Respondenterna fördelades jämnt mellan två olika enkäter vilka behandlade avsändarnas avsikter och mottagarnas uppfattningar var för sig. Resultaten av de två enkäterna jämfördes sedan med varandra i ett försök att avläsa vissa tendenser. Analysen visade att den vanligaste avsikten hos avsändarna också var den vanligaste uppfattningen hos mottagarna, men att resterande åsikter inte alls stämde överens. Funktionerna som ska hjälpa konversationen framåt visar sig istället vara mångtydiga och leda till så väl oklarheter som missförstånd och irritation.

Denna uppsats undersöker exegetikens roll i John Howard Yoders, Walter Winks och Stanley Hauerwas tolkning av Matt 5:38-48. Uppsatsens syfte nås genom att dels göra en exegetisk analys av Matt 5:38-48 i dess litterära och historiska kontext och att sedan studera utvald litteratur av de tre författarna och sedan jämföra deras material. Uppsatsen visar att alla tre författare menar att texten manar till en pacifistisk livshållning. Skillnaden mellan de tre ligger i att Hauerwas och Yoder väljer att förankra denna etik genom att läsa Matteusevangeliet som helhet medan Wink väljer att göra en ingående analys av vår aktuella text och istället söka efter textens ursprungliga historiska kontext. Genom att Yoder och Hauerwas väljer