The "tragedy of the commons" is a central concept in human ecology and the study of the environment. It has had tremendous value for stimulating research, but it only describes the reality of human-environment interactions in special situations. Research over the past thirty years has helped clarify how human motivations, rules governing access to resources, the structure of social organizations, and the resource systems themselves interact to determine whether or not the many dramas of the commons end happily. In this book, leaders in the field review the evidence from several disciplines and many lines of research and present a state-of-the-art assessment. They summarize lessons learned and identify the major challenges facing any system of governance for resource management. They also highlight the major challenges for the next decade: making knowledge development more systematic; understanding institutions dynamically; considering a broader range of resources (such as global and technological commons); and taking into account the effects of social and historical context. This book will be a valuable and accessible introduction to the field for students and a resource for advanced researchers.

Tackles one of the most enduring and contentious issues of positive political economy: common pool resource management.

In New World Drama, Elizabeth Maddock Dillon turns to the riotous scene of theatre in the eighteenth-century Atlantic world to explore the creation of new publics. Moving from England to the Caribbean to the early United States, she traces the theatrical emergence of a collective body in the colonized New World—one that included indigenous peoples, diasporic Africans, and diasporic Europeans. In the raucous space of the theatre, the contradictions of colonialism loomed large. Foremost among these was the central paradox of modernity: the coexistence of a massive slave economy and a nascent politics of freedom. Audiences in London eagerly watched the royal slave, Oroonoko, tortured on stage, while audiences in Charleston and Kingston were forbidden from watching the same scene. Audiences in Kingston and New York City exuberantly participated in the slaying of Richard III on stage, enacting the rise of the "people," and Native American leaders were enjoined to watch actors in blackface "jump Jim Crow." Dillon argues that the theater served as a "performative commons," staging debates over representation in a political world based on popular sovereignty. Her book is a capacious account of performance, aesthetics, and modernity in the eighteenth-century Atlantic world.

Judith has been divested of her assets and forced to leave her luxurious New York life after her husband's Wall Street scam became headline news. When her daughter Becca and Becca's filmmaker boyfriend pay Judith a visit to the one-bedroom condo Judith now occupies in Pensacola, Florida, everyone's motives are called into question. How will past and present circumstances inform how this family moves into the future?

Protest, Property and the Commons focuses on the alternative property narratives of ‘social centres’, or political squats, and how the spaces and their communities create their own – resistant – form of law. Drawing on critical legal theory, legal pluralism, legal geography, poststructuralism and new materialism, the book considers how protest movements both use state law and create new, more informal, legalities in order to forge a practice of resistance. Invaluable for anyone working within the area of informal property in land, commons, protest and adverse possession, this book offers a ground-breaking account of the integral role of time, space and performance in the instituting processes of law and resistance.