This dissertation examines the reception of narrative scholarship within Composition Studies. Scholarly narratives-that is, stories of teaching and learning from and about the writing classroom-circulate widely in Composition Studies' scholarly body, yet their prevalence belies the dismissal they face as unrigorous and atheoretical. I argue that the field should more closely attend to the kinds of knowledge narrative scholarship offers. Further, I contend that such an investigation into narrative's case exposes tacit interpretive practices that circumscribe the discipline's dominant ways of reading scholarly work. Narrative scholarship, and the field's arguments over its (il)legitimacy, have potential to productively "disrupt" dominant practices of scholarly production and consumption that are often perpetuated uncritically and to the discipline's own detriment. This disruption allows reflection not only about the narrow question of whether stories of teaching and learning have value, but also on the conservative disciplinary commitments that underpin composition's culture of scholarship. Such self-reflection is important, I maintain, for our own professional identities, for what we invite or discourage in our discipline's intellectual conversations. But it is equally important for our teaching since the judgments we make about what counts as "worthy" scholarship have consequences for our writing pedagogies-especially for first-year composition courses that ask students to write personal narrative essays. [The dissertation citations contained here are published with the permission of ProQuest LLC. Further reproduction is prohibited without permission. Copies of dissertations may be obtained by Telephone (800) 1-800-521-0600. Web page: http://bibliotheek.ehb.be:2222/en-US/products/dissertations/individuals.shtml.]