Citizenship in a Republic is the title of a speech given by Theodore Roosevelt, former President of the United States, at the Sorbonne in Paris, France, on April 23, 1910. One notable passage from the speech is referred to as "The Man in the Arena": It is not the critic who counts; not the man who points out how the strong man stumbles, or where the doer of deeds could have done them better.

Combining intellectual and social history, Teresita Martinez-Vergne explores the processes by which people in the Dominican Republic began to hammer out a common sense of purpose and a modern national identity at the end of the nineteenth and beginning of the twentieth centuries. Hoping to build a nation of hardworking, peaceful, voting citizens, the Dominican intelligentsia impressed on the rest of society a discourse of modernity based on secular education, private property, modern agricultural techniques, and an open political process. Black immigrants, bourgeois women, and working-class men and women in the capital city of Santo Domingo and in the booming sugar town of San Pedro de Macoris, however, formed their own surprisingly modern notions of citizenship in daily interactions with city officials. Martinez-Vergne shows just how difficult it was to reconcile the lived realities of people of color, women, and the working poor with elite notions of citizenship, entitlement, and identity. She concludes that the urban setting, rather than defusing the impact of race, class, and gender within a collective sense of belonging, as intellectuals had envisioned, instead contributed to keeping these distinctions intact, thus limiting what could be considered Dominican.

First, a colonial welfare state emerged by World War II that recognized social rights of citizens to health, education, and labor protection.

"Jann Pasler's remarkable Composing the Citizen reaches well beyond what any book concerned with music in society has ever attempted. Concentrating on France of the Third Republic, from the 1870s through the early 1900s, she demonstrates convincingly how music--whether new, old, popular, or élite, whether performed at institutions of state (such as the Opéra), the Folies Bergère, concert halls, or the zoo--helped to redefine what it meant to be French under evolving political circumstances. Equally adept in the languages of history, sociology, political science, reception history, and music analysis, Pasler establishes music's cultural significance and implicitly illuminates the role it can still play in countries like the United States."--Philip Gossett, The University of Chicago and University of Rome, La Sapienza "Composing the Citizen offers nothing less than a new paradigm for the study of musical cultures. Rather than forcing French music into the moulds developed for the Austro-German canon, Pasler simply studies the social uses of music in fin-de-siècle France. Her painstaking archival research allows her to present an astonishingly detailed account of musical practices, tastes, and activities; new names and genres come to the fore to engage in a variety of dynamic artistic scenes most of us never knew--or only thought we did by virtue of having read Proust. A masterwork of a scholar at the very peak of her career."--Susan McClary, MacArthur Fellow 1995 and author of Georges Bizet: Carmen and Modal Subjectivities: Self-Fashioning in the Italian Madgrigal "Utilité publique: a common-sense republican notion of sweeping consequence. In this greatly anticipated volume Jann Pasler uses it as touchstone, showing how and why musical life so mattered in Third-Republic France: layer after layer of it, in a journey that takes us past the Opéra and Conservatoire to the pops concerts, department stores, the zoo, the world's fairs, the overseas colonies. Companionable as a well-worn Baedeker, seductive as Roger Shattuck's The Banquet Years, this exquisitely styled and paced achievement is also a compelling read."--D. Kern Holoman, author of Berlioz and The Société des Concerts du Conservatoire, 1828-1967

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A sweeping political and cultural history, Killing for the Republic closes with a compelling argument in favor of resurrecting the citizen-soldier ideal in modern America.

As US power grew after WWI, officials and nonprofits joined to promote citizen participation in world affairs. David Allen traces the rise and fall of the Foreign Policy Association, a public-education initiative that retreated in the atomic age, scuttling dreams of democratic foreign policy and solidifying the technocratic national security model.