This study is a philosophical genealogy of the term “student engagement” as it has appeared in composition studies. It attempts to account for the fact that student engagement has become something of a virtue in educational and composition studies, despite the fact that the term is problematic due its lack of definitional clarity and circular understanding of pedagogy (explained in greater detail in chapter two). Inspired by Foucault, this study employs a genealogical analytic to create a counterhistory of student engagement, suggesting that its principles have existed long before educational theorists coined the term, tracing its practices back to the 1940s in composition studies. Far from being the humanistic and student-centered practice that it is commonly viewed as, this study situates student engagement practices as emerging from various discursive and political desires
eeds, especially as a way to ideologically counter the rise of Nazism and fascism in pre-World War 2 Europe; in short, rather than evolving out of best practices in education, the concept of student engagement emerged out of an intersection of educational, psychological, and even medical prescriptions set against a specific political backdrop. This study also examines the ways that power dynamics shift and teacher-/student-subjects occupy new roles as engagement becomes a prominent force on the pedagogical landscape, addressing specifically the ways teachers and their assignments enact a disciplinary and pastoral function, all with the intent of molding students into interested, interesting, and democratic subjects. This study closes by considering some of the implications of this new understanding of engagement, and suggests potential directions for the term as well as abandoning the term altogether.

This research features a phenomenological investigation of the interactions between adolescent storytellers and audience members during a live storytelling event. The researcher partnered with an English teacher in an urban Southwest high school and a spoken word poet from a youth nonprofit to produce a storytelling workshop and corresponding story slam event for high school students. Fourteen participants, including seven student storytellers and seven student audience members, participated in extensive follow-up interviews where they described the experience of their respective roles during the event. Utilizing a phenomenological design (Moustakas, 1994; Vagle, 2014) and drawing from reception theory (Bennett, 1997; Hall, 1980) as a framework, the researcher used participant descriptions to compose a textural-structural synthesis collectively describing the phenomenon of interaction, connection, and transaction between storytellers and audience members during the live event.

The textural-structural synthesis of participants’ descriptions comprises four major essences of the transactional phenomenon. These include 1) the relational symbiosis of storytellers and audience members, 2) the nature of the story slam as a planned and produced event, 3) the storytellers’ inclusions of specific, personal details which resonated with specific, personal details in audience members’ lives, and 4) the storytellers’ intentional style and content choices which corresponded with reactions from audience members.

These findings provide a platform for fostering conditions for interaction, connection, and transaction in curricular and extra-curricular secondary contexts. For a classroom teacher, they may be helpful in creating principles for optimizing interactions between teachers and students in instruction and between students in collaboration. In extra-curricular contexts, these findings provide a platform for consideration of how to hold space for creative performance once spaces for creative expression have been made for youth.