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Who owns tidal waters? Are oyster beds common holdings or private property? Questions first raised in colonial New Jersey helped shape American law by giving rise to the public trust doctrine. Today that concept plays a critical role in public advocacy and environmental law.

Bonnie McCay now puts that doctrine in perspective by tracing the history of attempts to defend common resources against privatization. She tells of conflicts in New Jersey communities over the last two centuries: how fishermen dependent on common-use rights employed poaching, piracy, and test cases to protect their stake in tidal resources, and how oyster planters whose businesses depended on the enclosure of marine commons engineered test cases of their own to seek protection for their claims.

McCay presents some of the most significant cases relating to fishing and waterfront development, describing how the oyster wars were fought on the waters and in the court rooms—and how the public trust doctrine was sometimes reinterpreted to support private interests. She explores the events and people behind the proceedings and addresses the legal, social, and ecological issues these cases represent.

Oyster Wars and the Public Trust is an important study of contested property rights from an anthropological perspective that also addresses significant issues in political ecology, institutional economics, environmental history, and the evolution of law. It contributes to our understanding of how competing claims to resources have evolved in the United States and shows that making nature a commodity remains a moral problem even in a market-driven economy.

 

For decades, the Chontalpa region of Tabasco, Mexico, conjured images of the possible origins of the Itzá, who migrated, conquered, or otherwise influenced much of Mesoamerica. In Oysters in the Land of Cacao, archaeologist Bradley E. Ensor provides an important resource for Mesoamerican Gulf Coast archaeology by offering a new and detailed picture of the coastal sites vital to understanding regional interactions and social dynamics.

This book synthesizes data from multiyear investigations at a coastal site complex in Tabasco—Islas de Los Cerros (ILC)—providing the first modern, systematic descriptions and analyses of material culture that challenge preconceptions while enabling new perspectives on cultural developments from the Formative to Late Classic periods through the lens of regional comparisons and contemporary theoretical trends. Ensor introduces a political ecological understanding of the environment and archaeological features, overturns a misconception that the latter were formative shell middens, provides an alternative pottery classification more appropriate for the materials and for contemporary theory, and introduces new approaches for addressing formation processes and settlement history.

Building on the empirical analyses and discussions of problems in Mesoamerican archaeology, this book contributes new approaches to practice and agency perspectives, holistically integrating intra- and interclass agency, kinship strategies, gender and age dynamics, layered cultural identities, landscapes, social memory, and foodways and feasting. Oysters in the Land of Cacao addresses issues important to coastal archaeology within and beyond Mesoamerica. It delivers an overdue regional synthesis and new observations on settlement patterns, elite power, and political economies.

Ozu and the Ethics of Indeterminacy re-examines cinema studies through the work of Japanese filmmaker Yasujirō Ozu, employing the multiple methodologies and indeterminacy of Ozu’s films as a model for discussions of cinema’s relationship to the world and the formation of film studies as a discipline. Centering a selection of Ozu films in each chapter, Daisuke Miyao builds a method based on the way films directed by Ozu avoid unitary perspective and allow multiple possibilities of standpoint and spectatorial position, which Miyao calls the ethics of indeterminacy. Analyzing Ozu’s use of cinematography, narrative, and color, Miyao theorizes the indeterminate in film—the seen and unseen, human and nonhuman, domestic and international—to initiate a multi-directional dialogue on the study of cinema that reaches beyond auteurism and culturalism to establish a new basis for disciplinary conversations.