This study employed a mixed-methods strategy to assess how narrative writing is perceived and utilized in first-year composition (FYC) courses at American 4-year institutions. The history of narrative writing instruction is reviewed in an examination of the literature of rhetoric and composition scholars, as well as those who study narrative theory. The survey tool was created for instructors and course/program designers to provide an overview of their FYC curricula, methodologies, and perceptions related to narrative writing. Findings indicate that FYC instructors and course designers perceive narrative writing as an introductory writing tool, much like the progymnasmata of antiquity, wherein narrative writing is used as scaffolding for more academic writing tasks. Though rarely assigned beyond the first project of the semester, when narrative is assigned, the learning objectives are difficult to meaningfully articulate beyond the general goals of the FYC course. The implications for future research are plentiful, as this study was necessarily limited in scope by its exploratory goals, so there are many opportunities to expand and build upon the work of this study.

This dissertation focuses on the potential for circulation studies to provide composition studies with a new means of examining the spread of pedagogical approaches to rhetoric and composition and writing studies (RC/WS). In this dissertation, I have used some of Gries's (2013) "iconographic tracking" methods and Mueller's (2017) network sense alongside more traditional rhetorical analysis to understand the distribution and circulation of the Writing About Writing (WAW) pedagogy. In addition to tracing an approach to teaching writing to see how it evolves over time, including how it was initially received and how the term "writing about writing" has been used on the social web, this dissertation includes my reflections on a circulation studies unit I taught in my own writing courses and the potential pedagogical implications of incorporating circulation studies into a first-year composition (FYC) course.

The first movement is probably best catalogued as highly altered sonata-allegro in form. Exposition of the main thematic material is in the form of a fugue. The main thematic germ of this entire work may be found in the first three ascending fourths.

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