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Combining Forms (CFs) are a major morphological phenomenon in Modern English, yet while they have been discussed in some morphological literature, no full-length study has been devoted to this topic so far. This pioneering book addresses that gap by providing a framework in which CFs are marked as distinct from their neighbouring categories such as abbreviations and blending. It splits CFs into four distinct categories - neoclassical (e.g. bio-therapy, zoo-logy), abbreviated (e.g. e-reader, econo-politics), secreted (e.g. oil-gate, computer-holic) and splinters (e.g. docu- from documentary in docudrama). It shows that the notion of CF spans a wide spectrum of processes, from regular composition to abbreviation, from blending to analogy, and schema. Modern and emerging English CFs are analysed by adopting a corpus-based approach, and measuring their realised, expanding, and potential productivity. Comprehensive yet accessible, it is essential reading for researchers and advanced students of morphology, English historical linguistics, corpus linguistics, and lexicography.

This Element provides new ways of reading the soundscape of the Gothic text. Drawing inspiration from the field of 'sonic Gothic' studies, which has been spearheaded by the writings of Isabella van Elferen, as well as from Mladen Dolar's articulation of the psychoanalytic 'object' voice, this study introduces the critical category of 'vococentric Gothic' into Gothic scholarship. In so doing, it reads important moments in Gothic fiction when the voice takes precedence as an uncanny, monstrous or seductive object. Historically informed, the range of readings proffered demonstrate the persistence of these vocal motifs across time (from the Gothic romance to contemporary Gothic) and across intermedia forms (from literature to film to podcasts). Gothic Voices, then, provides the first dedicated account of voices of terror and horror as they develop in the Gothic mode from the Romantic period until today.