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 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.

At the beginning of the 20^th century, a significant mystery for researchers in fields such as archaeology, history, linguistics, and theology began to unravel with the discovery of Manichean written records in Central Asia and Upper Egypt. While Manichean texts were composed in various languages, the largest body of religious writings was primarily in Middle Iranian languages. Following Bögü Kagan’s conversion, many of these texts in Central Asia were translated into Old Uyghur, predominantly from Middle Iranian sources. This study explores the origins of the Manichean script and provides a comparative analysis of its development and paleographic characteristics across Parthian, Middle Persian, Sogdian, and Old Uyghur. Additionally, evaluations of certain paleographic features in the Manichean script have been incorporated into the study.