Michel Foucault states that, "one writes in order to become other than what one is." In autobiography studies, Leigh Gilmore takes Foucault's dictum and explains it as follows: "Autobiography offers an opportunity for self-transformation. Moreover, by being less a report with a fixed content summarized at the end of a long life, autobiography becomes a speculative project in how "to become other." Here, the transformative effect of autobiography points at one performative aspect of literature. Jonathan Culler points at the performativity of literature by stating that first, literary utterance "brings into being characters and their actions, and second, "literary works bring into being ideas, concepts, which they deploy." Culler concludes that literature "takes its place among the acts of language that transform the world, bringing into being the things that they name. In this regard, Culler's ideas add one further point to Foucauldian sense of transformative effect of writing, in the way that, writing can not only transform the "self  but also transform the "world." In both cases, we can observe the performativity of literature. In this regard, let us discuss J. L. Austin's and Judith Butler's use of performativity through Culler's interpretations. Culler states that "Austin is interested in how the repetition of a formula on a single occasion makes something happen (you made a promise), while "for Butler this is a special case of the massive and obligatory repetition that produces historical and social realities (you become a woman)." Culler defines Austin's understanding of the performative as follows: "Performative utterances do not describe but perform the action they designate." Culler quotes Butler, who says that "queer" derives its force precisely through the repeated invocation by which a social bond among homophobic communities is formed through time. This example indicates the negative aspect of performativity since the speech acts are repeated in order to enhance the oppression of the oppressed group in society. Besides as Culler also mentions in his article, the adoption of "queer" by homosexuals is a counter act to the oppressors who use the expression "queer" repeatedly in order to insult homosexuals. However, the adoption of "queer" also brings about repetition; for instance say, now that "Queer Theory" is invented and uttered in the academia and in public for the struggle against homophobia. The word "queer" (and sets of discourses that succeed it) is now repeated constantly during the war against homophobia. Eventually, this constitutes the positive aspect of performativity; which not only reveals to us that it is possible to make use of the performative in course of struggling against the oppressor, but also signals the solid link between repetition and performativity. A particular performance in a society might have negative or positive effects; nevertheless, it is a result of previously repeated performative acts. Culler, in his essay beautifully brings together Austinian and Butlerian approaches to discuss the performativity of a literary work. For him, "the Austinian version of the literary event  would suggest that, at first, the literary work "accomplishes a singular, specific act , and secondly that "it creates that reality which is the work, and its sentences accomplish something in particular in that work.  Besides, Culler states that "on the other hand, we could also say that a work succeeds, becomes an event, by a massive repetition that takes up norms and, possibly, changes things.  And this constitutes the projection of Butlerian performativity onto literature. Culler further claims that the "changing  or "transforming  effect of literature might occur when a literary work is "effecting an alteration in the norms or the forms through which readers go on to confront the world.  Hence, one more point is added to Foucault's dictum, as a third aspect of the act of writing: The act of writing can perform in a way that it can transform: 1) The writing self 2) The World 3) The reader. All in all, a literary work's performativity might not be "a singular act accomplished once and