Shklovsky wrote in 1917 that art makes the stone stony. The claim assumed a baseline, habitual language against which literature registers as friction. Formalism never measured it. By 1930 the movement was finished and the term undefined. This book treats that as unfinished business. Emrah Peksoy argues that the computational analysis of literary corpora with language models supplies what Formalism lacked. It provides an empirical description of linguistic expectation. Once the norm exists, deviation stops being a metaphor. Defamiliarization becomes predictive failure. Literariness resolves into a geometry of fiction, prestige, and foregrounding. Narrative shape becomes a semantic trajectory across the novel. Each measure is derived from theory, tested where it fails, and returned to the reader. The algorithm measures the norm and its violation. The critic still reads. And formalism returns in modern dress as computational formalism.

The Imagist movement, a radical departure from traditional poetry, emerged as a revolutionary literary turning point in the 20th century. Following the principle of economy and precision of language, the Imagist poets championed poetry devoid of ornament and emotional excess. The movement’s emphasis on directness, simplicity, and visual intensity reshaped the spirit of poetry, sparking profound reverberations in literature.

This book comprehensively explores the Imagist movement’s theoretical background and historical context, as well as the analysis of the poems and contributions of its key figures, such as T. E. Hulme, Ezra Pound, H.D., and Amy Lowell. It also includes selected poems from Imagist anthologies, providing readers with concrete examples that highlight the essence of Imagist poetry.

The Spirit of Dickensian Style is a book that contains the analysis of certain stylisticfeatures and linguistic data of Charles Dickens’s five short stories in Christmas Books (1852). The stories of Dickens were stylistically analyzed under the categories defined by Leech and Short (Style in Fiction, 1981) within four headings: grammatical analysis, lexical usage, analysis of figures of speech and of narration.  As a great observer, reformist and spokesman of his age, Charles Dickens artistically combined his messages with his stylistic preferences in his masterpieces. Although ‘Stylistics’is the main core of this book, the aim of The Spirit of Dickensian Style was not to arrive at totally new interpretations of Dickens’s works through reducing his style to a mechanical objectivity. Rather, the aim was a literature-centered stylistic analysis to show how Charles Dickens presented his social messages related to the issues of Victorian Age.