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Despite — or maybe because of — the insisting preoccupation with silence in Beckett’s work, it is a state that seems hard to reach. Noise is continuously interfering in one way or another. Introducing the notion of the ‘dramaturgical oxymoron’ that opens up a gap between two different modes of narration, this essay will argue that Beckett’s plays demonstrate the impossibility of ultimate silence, which lies outside the symbolic order. In this sense these background noises are similar to other disruptive signs, such as the scratch, which is a recurring motif in Beckett. What may seem a mere detail in Krapp’s Last Tape, a scratch on the girl’s thigh, inflicted by picking gooseberries, serves as a metaphor for the loss of completeness and one’s alienation from the world. In the voice, finally, the character is disembodied, virtualised. Existing of nothing but thin air, in Mouth’s ‘own’ words in Not I, the voice does not seem to belong to the body and gives rise to the alienating effect of what Derrida calls s’entendre parler. Although the French deconstructionist has never written on Beckett, his writings on the primacy of the voice and the opposing stance he distinguishes in Artaud probably say as much about Beckett.

This genome announcement includes draft genomes from Claviceps purpurea s.lat., including C. arundinis, C. humidiphila and C. cf. spartinae. The draft genomes of Davidsoniella eucalypti, Quambalaria eucalypti and Teratosphaeria destructans, all three important eucalyptus pathogens, are presented. The insect associate Grosmannia galeiformis is also described. The pine pathogen genome of Fusarium circinatum has been assembled into pseudomolecules, based on additional sequence data and by harnessing the known synteny within the Fusarium fujikuroi species complex. This new assembly of the F. circinatum genome provides 12 pseudomolecules that correspond to the haploid chromosome number of F. circinatum. These are comparable to other chromosomal assemblies within the FFSC and will enable more robust genomic comparisons within this species complex.

Is er sprake van een stilistisch verband tussen literatuur en waanzinni_qe taal? Laurens De Vos, universitair docent in Theaterwetenschap, onderzoekt deze relatie in zijn arti­kel. Aan de hand van psychoana!),tische concepten van Jacques Lacan 9eejt De Vos een uiteenzettin_q over de taal van waanzin en welke plaats der_qelijke taal inneemt binnen of buiten de symbolische orde. Betekenis en betekenaar schijnen elkaar te hebben verloren. Alhoewel de ordenende principes van literatuur niet lijken te passen bij de chaos van de waanzinni_qe taal, ziet De Vos in de theatertekst Not I van Samuel Beckett een poetica die er sterke 9elijkenissen mee vertoont.