The Novel as Performance: The Example of Raymond Federman

Abstract

This article examines Raymond Federman’s Double or Nothing as an example of the novel as performance. It argues that Federman’s writing shares characteristics with performance art, emphasizing improvisation and the materiality of language. By situating his work alongside artists such as Laurie Anderson and Jackson Pollock, the study demonstrates how it blurs distinctions between mimetic and non-mimetic forms. The article highlights the role of typographical experimentation and self-referentiality, presenting the novel as a record of its own production.

(The abstract and keywords were prepared retrospectively for indexing purposes using AI-assisted tools and editorial review, based on the original article. They did not appear in the original publication.)