Pastoral serves as a keyword when understanding Seamus Heaney’s literary production, both in terms of stylistic features and imagery. Although critical attention has focused on the connection between his pastoral works and contemporary Irish politics, the growth of ecocritical scholarship in the last few decades has made evident the importance of broadening such an analytical scope to relationships between humans and the environment while studying this genre. In this alignment, the present essay offers an ecocritical reading of some selected pastoral poems by Heaney, with a specific focus on his revival of the eclogue through the collection “Electric Light” (2001). Precisely, the poems “Virgil: Eclogue IX,” “Bann Valley Eclogue,” and “Glanmore Eclogue” will be read through the innovative perspective offered by the recent engagement of affect theory with ecocriticism: by doing so, I argue that Heaney’s poems can be understood as valuable nature narratives that stress the connectedness between the human and the nonhuman, while resonating with the urgencies posed by the current environmental crisis to re-think more ethical forms of relationships between them. Furthermore, through the lens of econarratology, attention will be paid to the ecological potentials expressed by the formal features of the eclogue: this observation considers, on the one hand, the notion of ‘relationality’ within the practice of the shepherds’ dialogue/singing and, on the other hand, how this literary form stresses the attachment between the human and the environment, both in the real world and in the storyworld. Hence, when exceeding a strictly politically oriented critical analysis of his work, Heaney’s eclogues become visible as compelling ecocritical accounts that favor investigating the role of (pastoral) literature in fostering critical discussions about human/nonhuman ethics as a way to respond to the challenges of the Anthropocene.

This paper investigates how and to what extent the literary genre of the idyll lives on as part of the ‘new nature poetry.’ Following a conceptual, historical, and generic classification of the idyll, Thomas Kling’s „geschrebertes idyll, für mike feser“ is read to show, on the one hand, how skillfully and knowledgeably he unpacks the tradition. He not only plays in extenso with the genre’s characteristic features but also, on the other hand, includes in his “allotment garden idyll,” which can be read as an early example of Anthropocene poetry, astute and sharp-tongued ecological, social, medial, and historical critique. Despite his critical sensitivity to socially relevant themes, however, Kling presents a decidedly patriarchal self image, which today’s readers would probably find less readily acceptable and which distinguishes him from the most recent contemporary poetry.

This article will examine how and to what extent the ancient tradition of the didactic poem exerts an influence on contemporary German nature poetry. It will focus in particular on Raoul Schrott’s „Tropen“ and Marion Poschmann’s „Geliehene Landschaften“, which, while different from each other, both offer clues to possible lines of influence. Although there is a long tradition of didascalic poems in the German literature of the Renaissance and of the Enlightenment, my point of reference will be the ancient didactic poem, as it was shaped by Lucretius in his “De rerum natura”, because of its masterful intertwining of knowledge and poetry and its wholly secular view of nature, creation, and evolution, as well as the fact that it stresses the idea that life is accidental. These are the aspects of ancient didactic poetry that I will investigate in the aforementioned German poets and works, with particular attention to the relationship between the knowledge of nature and the language of poetry. Both Schrott and Poschmann openly use the word ‚Lehrgedicht‘ [didactic poem] in order to define their poems, in which the didactic parts function as a knowledge of “nature after nature.” As a consequence, their poetry revolves around the impossibility of an all-encompassing explanation of the world and takes as its theme the rupture that divides human beings from nature in the modern age. Consciousness of the intrinsic constructedness of the way we experience nature is, on the other hand, a condition for both its aesthetic perception and scientific enquiry. At the center of both Schrott’s and Poschmann’s poetry collections, albeit in different ways and with different emphases, we thereby find an understanding of nature as a void that can only be approached (but never overcome) by means of language. Herein lies the main difference between these contemporary poets and the ancient tradition.

This essay puts forth a definition of poetry rooted in experience. In following Eugenio Montale, it analyzes two of his poems – “I limoni” and “Notizie dall’Amiata” – to show how the poet, rather than constructing discrete poetic worlds, aims at a poetry revealing the world and nature to a concrete reader, unforeseeable for the poet. Poetry thus aims at imbuing this reader’s life with an ephemeral poetic form, rather than evoking its own self-sufficient aesthetics. In doing so, chance and flaws in the social and cultural construction of reality act as co-authors of his “poesia”.

Auch wenn die Natur im Gedicht nach 1945 ihre poetische Unschuld verloren hat, so behält doch das Sprechen über Naturphänomene und Naturkatastrophen seine inspirierende Wirkung auf den Dichter. Im Gespräch zwischen Gedichten, vom Gedicht zum Leser stiftet Naturdichtung weiterhin Erkenntnis, politisch und weltanschaulich. Dabei spielt auch die Transition der poetischen Formen, die jahrhundertlang das Bild der Natur gestaltet haben, eine aufschlussreiche Rolle: Das Naturgedicht nach 1945 schöpft immer wieder aus dem rhetorischen Reservoir der Gattung, sei es aus dem lukrezischen Lehrgedicht oder sei es aus dem Idyll der klassischen Tradition. Und die neuere Naturdichtung stellt unser Anthropozän in Frage, jenseits von Lyrismus und von wohlfeilem ecocriticizm. Aus verschiedenen Perspektiven untersuchen die Beiträge des Bandes von IZfK diese Transitionen und Transformationen der Natur im europäischen Naturgedicht nach 1945. Wie kann man poetisch – und im weiteren Sinne dann auch politisch – über Natur sprechen angesichts ihrer ökologischen „Todesarten“ im 21. Jahrhundert? Welchen Einfluss haben die Naturwissenschaften auf new nature writing? Mit welchen Mitteln werden klassische Genres der Naturpoesie wie Pastorale, Bukolik, Elementar- und Lehrgedicht umgeschrieben?

In the so-called Anthropocene, we pose anew the question of what man is. If humankind wants to face present challenges, the preconditions of our “Weltanschauung” come into view. Whereas in the past one used to link cultures by factors such as geography or national identity, today it seems necessary to expand the parameters of cultural comparison. Therefore, different forms of consciousness have had to be analysed as different cultural types. Aiming to describe these forms, the 15th century view is of relevance because it sets the course for the modern reflexive form of consciousness and its sciences – but also its alternatives. With that in mind, this article will focus on the example of Nicholas of Cusa. It shows that art and technology can be understood as manifestations of two different types of consciousness. One type, concerning technology and science, refers to the “anima sensibilis”, including a discursive capacity oriented towards sensual perception. The other type legitimizes and guarantees the first and consists in judging; this pure, mental process has to be actively generated. Cusanus named this type of consciousness as “viva imago”, which forms itself towards a “viva substantia”.

Nicholas of Cusa’s “De genesi”, which begins as a commentary on the Book of Genesis, offers a reflection on the unfolding of the Divine into the world. It primarily considers how the One, the principium that sets and determines everything, can be a basis from which the Other (diversitas) and multiplicity can emerge. The pivotal point is identifying the “Self” that is God and what He transposes outside of Himself such that the transposed is also a “Self”. Thus, it addresses an old problem, directly linked to monotheistic thinking, which preoccupied Platonism and especially Plotinus. In fact, Cusanus takes up Neoplatonic lines of thought, but he transforms them with recourse to Trinitarian ideas. From Plotinus’s “returning” of the creature released by the One into the world to view the One and Divine, he develops the idea of a responding resemblance (assimilatio) to God on the part of the creature, which in turn is a “Self” but also an Other, which the creature in its process of resemblance “sublevates” in reference to God. This not yet fully thought-through or convincing concept leads to the more conclusive explanations given by Cusanus in later texts.

In the last chapter of “De coniecturis”, Cusanus exhorts his friend, Cardinal Giuli ano Cesarini, to get to know himself. This classical philosophical topic is revisited by Cusanus here in an original manner. On the one hand, Cusanus’ perspective reveals the strong influence of Proclus, which deserves to be highlighted. On the other, unlike Proclus, Cusanus asserts that self-knowledge is explicitly linked to the topic of the human being as created ad imaginem and that of the world as the sphere of contraction. Cusanus bases both subjective matters on the triune princi ple. According to him, the Divine Trinity is the exemplar that cannot be reached by an image, and the effort to reach the Trinity constitutes the basic requirement for the conjectural construction of the self. Furthermore, the fact that this under standing of the Trinity implies a distinction in itself makes the Trinity the princi ple of all difference or otherness in plurality. Cusanus concludes that the image can only be constructed relationally, that it is not possible to attain God without a fundamental knowledge of the self as an image, and that no one knows his own self without knowing others at the same time.

"Kunst und Technik bei Nikolaus von Kues" is the German translation of a conference that could not take place in Buenos Aires in March 2020 due to the pandemic. However, we have decided to present some of the contributions in print.

This paper explores the presence of the poetic word in contemporary urban settings: from “Poetry in Motion,” displayed in the New York City subway at the very place where one usually finds ads, to fluid xenon light projections of huge verse on the exterior of buildings in Basel or Zurich by visual artist Jenny Holzer, who presents poems of the Nobel Laureate Wisława Szymborska together with her own short “Truisms.” Or from single poems permanently written on walls – e.g. a much-discussed concrete poem by Eugen Gomringer at the facade of a Berlin college of education – to the technically enhanced spoken word, audible from far away as a side effect of gigantic poetry slam events in stadiums, e.g. the Trabrennbahn (race-course) in Hamburg and even performative events such as Ulrike Almut Sandig’s „augenpost“ in which poems are ‘published’ on posters, flyers and free postcards in the urban space of Leipzig or declaimed on public squares in Indian metropolises through a megaphone. Such presentations of poetry in urban space are still uncommon, thus creating an aesthetic experience that differs strongly from reception in private settings or even in readings or public poetry festivals, as the poem relates to its urban surroundings.

In this article, I analyze the most recent Russian video poetry as an amplification and semantic enrichment of the classic literature paradigm. My thesis is that new visual poetry produces a subtle, polysemous – but at the same time striking – political message within a synthetic artistic framework. I show how recent Russian social (also to be called political) poetry is developing what I call the aesthetics of environmental non-division. I focus on the art collective “The Group of Esfir’ Shub,” which was founded in 2017 by the artist and designer Polina Zaslavskaia. The group’s synthetic method of working with poems generates a “tropic connection between the text and the video,” which correlates or even confronts direct and figurative sign meanings of different media with each other. “Esfir’ Shub” emphasizes one of the essential features of new social poetry ‒ the problematization of corporeality as a phenomenon belonging to organic, living material, which affects the very character of subjectivity. The project “Esfir’ Shub” is situated on the border between visual eco-art and social poetry. What is more important, it represents new trends in Russian engaged aesthetics, which I call biopoetics ‒ a notion which has been intensely discussed in the last two decades.

This essay identifies a shared response to news media in poetry written over the past three decades by writers working in Chinese, Russian, and English. These poets often directly incorporate texts and images from news media into their work. Some scholars have argued that this tendency towards the collaging of texts derived from news and social media reflects a shift in poetic subjectivity. However, when seen from a comparative perspective, these and other cut-ups of news and social media are better understood as, on the one hand, an extension of a much longer tradition of literary and artistic responses to the news and, on the other, a renewal of that tradition in response to the intensification of the intertwined pressures of new media and globalization since the end of the Cold War and the rise of the Internet. The article identifies this shared response to media and globalization among a variety of examples in Chinese, Russian, and English, including Kirill Medvedev’s «Текст, посвященный трагическим событиям 11 сентября в Нью-Йорке» (“Text Devoted to the Tragic Events of September 11 in New York”); Stanislav Lvovsky’s «Чужими словами» (“In Other Words”); Dmitri Prigov’s «По материалам прессы» (“Based on Material from the Press”) and “ru.sofob (50 x 50)”; Lin Yaode’s 林燿德 “Er erba” 《二二八》(“February 28”), Hsia Yü 夏宇 and her collaborators’ group project “Huadiao huadiao huadiao” 《劃掉劃掉劃掉》 (“Cross It Out, Cross It Out, Cross It Out”), Yan Jun’s 顏峻 2003 multi-media video performance “Fan dui yiqie you zuzhi de qipian” 《反对一切有组织的欺骗》 (“Against All Organized Deception”); online video poetry produced in response to the 2008 Sichuan earthquake; and Brian Kim Stefans’s mashup of “New York Times” articles with texts from the Situationist International. On the one hand, these texts operate between various media and art forms: between poetry and contemporary art, music, journalism, and social media, between the print newspaper and digital file, between the webpage and live performance, and between image and text. But on the other hand, and inextricably, they also operate within global information networks. They are better understood as addressing not the transformation of the poetic subject but the undoing of the boundaries of poetry and of the concept of a nationally defined literature.

The article offers a preliminary investigation of the phenomenon of female-authored ‘poetry theater’ (shige juchang)1 in the People’s Republic of China. It discusses cross-genre explorations by a group of female poets, theater directors and artists who are all associated with the movement of ‘women’s poetry’ (nüxing shige) that emerged in the 1980s in China. The discussion focuses on two performances based on female-authored poems, “Riding a Roller Coaster Flying Toward the Future” (2011) and “Roaming the Fuchun Mountains with Huang Gongwang” (2016), which resulted from the joint efforts of four women: the poet Zhai Yongming, the poet-scholar Zhou Zan, and the theater directors Cao Kefei and Chen Si’an. Their avant-garde experiments with poetical theater document the different ways in which poetry is being translated into images, sounds, or bodily movements on stage. The paper argues that poetic exploration of writing and reciting practices has gained new momentum from emerging intermedial, visual-verbal experiments. Furthermore, it claims that interest in ‘poetry theater’ is also driven by the search for new forms of cross-genre stage performances that could be different from the previously politicized or commercialized ones.

The following contribution seeks to understand poetry as a genre situated between written text and performance. First, it presents instances of the systematic differences between performed and written poems, defining ‘performed poetry’ in a decidedly broad sense. The metaphor of ‘aggregate states’ is tested and critically discussed in order to describe poetry as a genre that not only is received in a state of exception but that in its very essence plays between substantially different media and forms. Due to the dearth of critical work addressing poetry as a performative art, a set of terms and tools for the analysis of performed poetry is proposed. After these brief theoretical remarks, two poems are examined, both of which are accessible as performance and as a written text. Their differences are considered in order to show the potential value of separating and comparing performative and written elements for individual analysis as well as for further conceptual discussion. Nora Gomringer’s „Dichtertreffen“ is presented by the author in the style of a classical reading (‚Wasserglaslesung‘), in which the artist, however, utilizes a full repertoire of performative channels and codes. As a result, the semantics of this performed variant differ significantly from those of the written text. The use of the body, objects, space, and voice alter the meaning of the poem even in a reading that, at first glance, does not conspicuously refer to performative art forms at all. Martina Hefter’s poem about the physical condition of lying („liegen“) focuses on the dance-like handling of body and space in its performed version, which has little in common with a classical reading. The discussion of two poems, written and performed, reveals the importance of considering both ‘aggregate states’ of the poem when working with texts and engaging in the recent debates of lyricology

This contribution analyses two complex examples of the generic extension of lyric poetry in recent British literature. Tony Harrison’s film poem “The Shadow of Hiroshima” (1995) expands the lyric text into the visual dimension; Glyn Maxwell’s collection “The Sugar Mile” (2005) arranges a large number of individual lyric poems into a dramatic scenario. In both cases the generic transition is coupled with a further generic extension – the elaboration of a distinctly narrative sequentiality. In two important aspects the generic extension of these examples affects the rendering of a particular experience, namely the perception of and reaction to massive violence and destruction. One aspect concerns the organization of speech situation and perspective, especially the relation between a superordinate authorial voice and possible subordinate voices, the other aspect pertains to the status of the represented experience in the ambiguity between factuality and fictionality, characteristic of the stance of the lyric utterance in various periods throughout the history of poetry. In both respects the generic expansion in Harrison’s “The Shadow of Hiroshima” and in Maxwell‘s “The Sugar Mile” can be shown to utilize the representational potentials of lyric poetry in distinctly alternative directions.

This contribution examines the question of how contemporary lyric poetry expands upon established generic concepts by considering the work of Monika Rinck, one of the most striking voices among a generation of exceedingly talented poets who made their debut in the 2000s. In her poetry, we find numerous examples of how the expectations of lyric are deliberately undermined: among them, formal features reminiscent of prose, such as her tendency to use extremely long lines and prose-typical abbreviations, as well as her explicit interest in the discursive exploration of ‘concepts.’ As her essays suggest, this interest manifests itself most readily in Rinck’s efforts to avoid the totalizing economization of society (as well as art and language) and has, as a result, motivated the development of her own style within experimental language poetry. However, while Rinck has played a leading role in expanding the contemporary concept of poetry, the poetic principles to which she refers in her theoretical writings and poems are by no means new. In this article, her poem „Augenfühlerfisch“ (“eye-tentacle fish”) serves not only to illustrate her tendency to expand poetry into discursive prose but demonstrates how it is rooted in a long-standing philosophical tradition. The terminology used in the poem can be traced back to early modern epistemology and particularly to the foundation of scientific aesthetics by Alexander Gottlieb Baumgarten. In referring to Baumgarten’s definition of poetry as “fully sensuous speech” [„vollkommen sinnliche Rede“] (as well as the specific deployment of this definition by Johann Adolf Schlegel), it becomes clear that Rinck reactivates an epistemological potential in lyric that had been hidden by the paradigm of Erlebnislyrik [experiential lyric]. Moreover, Rinck is able to relax the Erlebnislyrik’s pretense to sincerity in part thanks to the same prose features, such as the multiplication of voices, already mentioned above.

This article asks what “world lyric in transition” could mean to literary scholarship by clarifying the terms “lyric,” “world lyric,” and “transition.”

More than any other literary form, contemporary poetry is in transition: intermingling with narrative and dramatic genres, combining prose and verse, and even incorporating other media, such as visual art, music, film and digital technology, shifting the borders between public and private spheres, aesthetic and discursive approaches, and producer and recipient. On the basis of case studies, this issue addresses the challenges of poetry in transition and stimulates new approaches in lyric theory and methodology.

Die vorliegende Arbeit untersucht erstmals systematisch die Intonation des Luxemburgischen, mit dem Ziel, ein Inventar der gängigsten Intonationskonturen sowie deren Funktion zu erstellen und damit Vergleiche mit Intonationssystemen anderer Sprachen zu ermöglichen. Datengrundlage für diese formale sowie funktionale Analyse bildet sowohl geskriptetes als auch ungeskriptetes Sprachmaterial von zwölf luxemburgischen Muttersprachlern in monologischer und dialogischer Form. Insgesamt können sechs verschiedene Konturen ermittelt werden, wobei vier davon in mehr als einer Funktion vorkommen. Auf diesem Ergebnis basierend werden die Unterschiede bzw. Ähnlichkeiten zu den Intonationssystemen der beiden weiteren Landessprachen in Luxemburg – Deutsch und Französisch – erarbeitet. Die kontrastive Analyse zeigt, dass sich beide Systeme substanziell von dem des Luxemburgischen unterscheiden, auch wenn die Unterschiede zum Deutschen aufgrund ähnlicherer prosodischer Strukturen leichter zu vergleichen und damit eindeutiger sind. In einem weiteren Schritt wird der Transfer luxemburgischer Strukturen in die beiden Fremdsprachen untersucht, um mögliche Interferenzen aufzeigen zu können. Die Ergebnisse zeigen, dass die Sprecher häufig muttersprachliche Konturen in die Fremdsprachen importieren.

This thesis focus on threats as an experience of stress. Threats are distinguished from challenges and hindrances as another dimension of stress in challenge-hindrance models (CHM) of work stress (Tuckey et al., 2015). Multiple disciplines of psychology (e.g. stereotype, Fingerhut & Abdou, 2017; identity, Petriglieri, 2011) provide a variety of possible events that can trigger threats (e.g., failure expe-riences, social devaluation; Leary et al., 2009). However, systematic consideration of triggers and thus, an overview of when does the danger of threats arises, has been lacking to date. The explanation why events are appraised as threats is related to frustrated needs (e.g., Quested et al., 2011; Semmer et al., 2007), but empirical evidence is rare and needs can cover a wide range of content (e.g., relatedness, competence, power), depending on need approaches (e.g., Deci & Ryan, 2000; McClelland, 1961). This thesis aims to shed light on triggers (when) and the need-based mechanism (why) of threats. In the introduction, I introduce threats as a dimension of stress experience (cf. Tuckey et al., 2015) and give insights into the diverse field of threat triggers (the when of threats). Further, I explain threats in terms of a frustrated need for positive self-view, before presenting specific needs as possible deter-minants in the threat mechanism (the why of threats). Study 1 represents a literature review based on 122 papers from interdisciplinary threat research and provides a classification of five triggers and five needs identified in explanations and operationalizations of threats. In Study 2, the five triggers and needs are ecologically validated in interviews with police officers (n = 20), paramedics (n = 10), teach-ers (n = 10), and employees of the German federal employment agency (n = 8). The mediating role of needs in the relationship between triggers and threats is confirmed in a correlative survey design (N = 101 Leaders working part-time, Study 3) and in a controlled laboratory experiment (N = 60 two-person student teams, Study 4). The thesis ends with a general discussion of the results of the four studies, providing theoretical and practical implications.

The temporal stability of psychological test scores is one prerequisite for their practical usability. This is especially true for intelligence test scores. In educational contexts, high stakes decisions with long-term consequences, such as placement in special education programs, are often based on intelligence test results. There are four different types of temporal stability: mean-level change, individual-level change, differential continuity, and ipsative continuity. We present statistical methods for investigating each type of stability. Where necessary, the methods were adapted for the specific challenges posed by intelligence research (e.g., controlling for general intelligence in lower order test scores). We provide step-by-step guidance for the application of the statistical methods and apply them to a real data set of 114 gifted students tested twice with a test-retest interval of 6 months. • Four different types of stability need to be investigated for a full picture of temporal stability in psychological research • Selection and adaption of the methods for the use in intelligence research • Complete protocol of the implementation

Die menschliche Entscheidungsgewalt wird durch algorithmische Entscheidungssysteme herausgefordert. Verfassungsrechtlich besonders problematisch ist dies in Bereichen, die das staatliche Handeln betreffen. Eine herausgehobene Stellung nimmt durch den besonderen Schutz der Art. 92 ff. GG die rechtsprechende Gewalt ein. Lydia Wolff fragt daher danach, welche Antworten das Grundgesetz auf digitale Veränderungen in diesem Bereich bereithält und wie sich ein Eigenwert menschlicher Entscheidungen in der Rechtsprechung angesichts technischen Wandels darstellen lässt. Das Werk erörtert hierzu einen Beitrag zum verfassungsrechtlichen Richterbegriff und stellt diesen etablierten Begriff in einen Kontext neuer digitaler Herausforderungen durch algorithmische Konkurrenz.

Digital technologies have become central to social interaction and accessing goods and services. Development strategies and approaches to governance have increasingly deployed self-labelled ‘smart’ technologies and systems at various spatial scales, often promoted as rectifying social and geographic inequalities and increasing economic and environmental efficiencies. These have also been accompanied with similarly digitalized commercial and non-profit offers, particularly within the sharing economy. Concern has grown, however, over possible inequalities linked to their introduction. In this paper we critically analyse the role of sharing economies’ contribution to more inclusive, socially equitable and spatially just transitions. Conceptually, this paper brings together literature on sharing economies, smart urbanism and just transitions. Drawing on an explorative database of sharing initiatives within the cross-border region of Luxembourg and Germany, we discuss aspects of sustainability as they relate to distributive justice through spatial accessibility, intended benefits, and their operationalization. The regional analysis shows the diversity of sharing models, how they are appropriated in different ways and how intent and operationalization matter in terms of potential benefits. Results emphasize the need for more fine-grained, qualitative research revealing who is, and is not, participating and benefitting from sharing economies.

The Amazon catchment is the largest river basin on earth, and up to 30% of its waters flow across floodplains. In its open waters, floating plants known as floating meadows abound. They can act as vectors of dispersal for their associated fauna and, therefore, can be important for the spatial structure of communities. Here, we focus on amphibian diversity in the Amazonian floating meadows over large spatial scales. We recorded 50 amphibian species over 57 sites, covering around 7000 km along river courses. Using multi-site generalised dissimilarity modelling of zeta diversity, we tested Hanski's core-satellite hypothesis and identified the existence of two functional groups of species operating under different ecological processes in the floating meadows. ‘Core' species are associated with floating meadows, while ‘satellite' species are associated with adjacent environments, being only occasional or accidental occupants of the floating vegetation. At large scales, amphibian diversity in floating meadows is mostly determined by stochastic (i.e. random/neutral) processes, whereas at regional scales, climate and deterministic (i.e. niche-based) processes are central drivers. Compared with the turnover of ‘core' species, the turnover of ‘satellite' species increases much faster with distances and is also controlled by a wider range of climatic features. Distance is not a limiting factor for ‘core' species, suggesting that they have a stronger dispersal ability even over large distances. This is probably related to the existence of passive long-distance dispersal of individuals along rivers via vegetation rafts. In this sense, Amazonian rivers can facilitate dispersal, and this effect should be stronger for species associated with riverine habitats such as floating meadows.

The endemic argan tree (Argania spinosa) populations in southern Morocco are highly degraded due to overbrowsing, illegal firewood extraction and the expansion of intensive agriculture. Bare areas between the isolated trees increase due to limited regrowth; however, it is unknown if the trees influence the soil of the intertree areas. Hypothetically, spatial differences in soil parameters of the intertree area should result from the translocation of litter or soil particles (by runoff and erosion or wind drift) from canopy-covered areas to the intertree areas. In total, 385 soil samples were taken around the tree from the trunk along the tree drip line (within and outside the tree area) and the intertree area between two trees in four directions (upslope, downslope and in both directions parallel to the slope) up to 50 m distance from the tree. They were analysed for gravimetric soil water content, pH, electrical conductivity, percolation stability, total nitrogen content (TN), content of soil organic carbon (SOC) and C/N ratio. A total of 74 tension disc infiltrometer experiments were performed near the tree drip line, within and outside the tree area, to measure the unsaturated hydraulic conductivity. We found that the tree influence on its surrounding intertree area is limited, with, e.g., SOC and TN content decreasing significantly from tree trunk (4.4 % SOC and 0.3 % TN) to tree drip line (2.0 % SOC and 0.2 % TN). However, intertree areas near the tree drip line (1.3 % SOC and 0.2 % TN) differed significantly from intertree areas between two trees (1.0 % SOC and 0.1 % TN) yet only with a small effect. Trends for spatial patterns could be found in eastern and downslope directions due to wind drift and slope wash. Soil water content was highest in the north due to shade from the midday sun; the influence extended to the intertree areas. The unsaturated hydraulic conductivity also showed significant differences between areas within and outside the tree area near the tree drip line. This was the case on sites under different land usages (silvopastoral and agricultural), slope gradients or tree densities. Although only limited influence of the tree on its intertree area was found, the spatial pattern around the tree suggests that reforestation measures should be aimed around tree shelters in northern or eastern directions with higher soil water content or TN or SOC content to ensure seedling survival, along with measures to prevent overgrazing.