Volume VI 1992
Editor
J.N.D. Dodoo

CONTENTS
Page
HISTORY & POLITICS
1. The Abolition of domestic slavery by Britain:
Asante's Dilemma-AKOSUAPERBI ... ...... 1
2. Diplomatic Initiatives and Namibia's Decolonisation in
Retrospect - KWAME BOAFO-ARTHUR ... ... 24
LITERATURE
3. The Beggars Rebellion: A Comparative Study of Social
Criticism in two Senegalese Novels-YAW SAFOBOAFO ... 38
4. The Complex Simplicity of Children's Literature: A reading of
Ghana Motion and The Brassman's Secret –
KOFI ANYIDOHO... 51
5.
6.
7.
Landscape as a poetic subject - DANNABANG KUWABONG ... 63
Euripides' Alcestis: On Heroic Preoccupation with Honour –
J.O.DEGRAFT-HANSEN ... ............
The Gender Issue in Selected Works of A.S. Pushkin -
76
ALEXINA ARTHUR ... ............ 93
LINGUISTICS
8. Can French Clips be Rationalised? - TUNDE AJTOOYE ... 100

Tunde Ajiboye*
Among the patterns of lexical transformations in French is that realised through a process called clipping. On the basis of the need for language to respond to the criterion of economy, finite resources have been known to generate infinite strings. The generative capacity of a language is a hallmark of its creative potentiality. Creativity, on the other hand, leads to the enrichment of the language providing a solid means of coping with the latest ideas, developments and experiences whose expression is considered relevant to the language community in question, while language economy is a concrete reaction to the problem posed by constraints of time and style.
In French, like in many other languages of the world, finite resources include procedures such as suffixation, derivation, composition, deletion, insertion, metathesis, epenthesis, and even assimilation, all pointing to the dynamic quality of language properties and language use. There is also evidence that in French, clipping constitutes an additional resource for language creativity, even though it is creativity based on a desire to be economical. There is however, as far as I know, little systematic study done so far on clipping in French, the result being that we have little or no idea of its general morpho- lexical derivation.
Before we go into any further detail, it is appropriate to define what is generally agreed to be a "clip". Quirk et al (1979:448) submit that
"clipping occurs when there is a substraction of one or more syllables from a word". Examples cited in English include (tele)phone, photo(graph) and (in)flu(enza).
From the examples given, one can say that a clip is a pseudolexical unit which results from the grapho-phonemic reduction of a word, sharing die same semantic and paradigmatic relationships with that word.
From the examples given also, a distinction between 'clipping’ and the French 'abreviation' becomes apparent According to Georges
Mounin (1974) 'abreviation' refers to the shortening of a word in graphic terms and not necessarily in articulatory or phonetic terms. It is the
*Dr. Tunde Ajiboye is a Reader in French, Department of Modem
European Languages, University of niorin, Nigeria.
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“Réduction graphique d'un mot ou d'un groupe de mots., join de nndre recriture l’écriture plus rapide" ("Graphic reduction of a word or a group of words...in order to enhance fast writing" translation mine).
In other words, 'abréviation' deals withthe written medium the effect of which is not necessarily transferable to the oral medium, whereas
'clipping' for which Georges Mounin (1974) (op.cit) and Martinet
(1979:243) haveproposed ‘abitge-ment' occurs as a written feature as well as an oral feature. While M, Mme, Mile, sgnr., would qualify as examples of
'abreviation,' items like photo, cind, prof, geo, micro, velo would satisfy the criterion for clips. Both procedures are, as Raph de Sola (1976) calls them
(see his introduction) "short-cuts to communication" and that is probably why in several references, (in particular nontechnical dictionaries) there is no attempt to distinguish them.
A good theory of clipping in French might well be based on the hypothesis thatclippingisatype of abbreviation. In this case, we would recognize four types of abbreviation in French as exemplified by (a) psycho
(b) O.U. A. (c) au premier (etoge) (d) adj. While types (b), (c), and (d) deserve attention each in its own right, our aim in this paper is to propose a number of arguments in order to justify the general morphological pattern assumed by most, if not all, items belonging to type (a). Such items we would, for the sake of clarity, call clips, while the term source-word will be reserved for the lexical item from which the clip has been derived. For example, 'psycho* is a clip derived from the source-word 'psychologic. ' For convenience, type (b) could be labelled abbreviated form, type (c) elliptic form and type (d) shortened form.
The study reported in (his paper is based on a corpus of 55 sourcewords which were collected from both oral and written texts, and the evidence of native speakers of French. The list of the source-words and the resultant clips are given at the end of the paper as an appendix.
When considered carefully, the corpus shows that while a general statement could be made in terms of the lexical units that could be clipped, the result of clipping indicates that it is not the same rule that applies for each occurrence. For example, it seems safe, from the data, to state that nouns have by far the largest share of the process, while a tiny percentage is taken up by adjectives. It is also safe to claim that other grammatical categories - pronouns, adverbs, verbs, prepositions etc. are consistently out of the picture.
The corpus under review also justifies the observation that, morphologically speaking, French clips fall into two categories:
(i) Those that are derived from words made up of units at least one
(ii) of which could be considered as having independent lexical status e.g. automobile, moto-cyclette, taxi-metre, kilo-metre, microphone, velo-moteur, foot-ball.n tram-way etc. (These are what Martinet (1979:235) calls "monemes liberabtes"). those derived tram words which cannot ordinarily be broken into
101

small sementically meaningful units e.g. eco-nomie, biblio-theque, promo-tion, aristo-cratie. These could be referred to as 'confixes.'
But these remarks do not tell us much about the true nature of clips in French. It should beof interest, forexample.toknow the precise morphological character of the clips, the conditions governing their shaping, feature(s) exhibited by them which could be described as universal. In other words, do all clips exhibit the same feature in terms of procedure for clipping, the resultant effect of the procedure? If not, what is the nature of the differences and how do we account for these differences? These are some of the problems that will preoccupy us in this paper.
II. The Morphological Character of French Clips:
Perhaps the first picture that emerges from a random consideration of a sample of French clips is that they are, generally speaking, made up of not less than two syllables as the following examples will show: auto, moto, philo, télé, ciné, taxi, kilo.
But when compared with: foot, pub, pull, gym, tram, a more complex picture emerges in view ef the fact that this latter set of items are incontrovertible examples of monosyllabic clips. The significance of the latter set of items lies not only in their being adequate as examples of monosyllabic clips (therefore exceptions to the general rule) but also in the need that these items create in us to look beyond French at times for possible account of some clip features in French.
For instance, it would be necessary now to link the monosyllabic realisation of the clips just highlighted and others like them with the structure of clips in
English from where the source-words have been borrowed. A random sampling of English clips strongly supports the view that monosyllabicity is highly frequent. The few examples that follow will suffice to justify the hypothesis that monosyllabicity plays an important role in the type of reduction under review: pram, tram, spec, phone, flu, maths, lab.
The second arm of the problem has to do with the length of the clips. If it is admitted that an item is not a clip unless it is relatable to another item in semantic range and phonetic shape, the former being a graphic reduction of the latter, it should be of interest to know the amount of reduction that takes place vis a vis the original source-word. Hence, to the statement mat the French clip is essentially disyllabic must be added the fact that most clips (except those derived from borrowing) seek to maintain about half the length of the original. This should explain why the number of syllables making up the second unit of the source- word is of ten not as crucial as the length associable with the syllables. Let us consider a few examples:
102

é co-nomie, radio-phonie, g
é o-graphie, homo-sexuel, r
é cr
é
-ation, photo-graphie, psycho-togie.
An auditory impression of the items when produced orally attests not only to the 4-syllable structure of mostclip-prone words but also to the fact that each clip derived there-from is about half the 'duree' of the whole word in its original formation. But when we remember that there are several examples of source-words that have less than four syllables: (frigidaire, retrograde, sympathique, microphone, discotheque, crocodile, facuM, cinema, anarchiste, kilogramme, kilometre and some with more than four syllables: (extraordinaire, manifestation, m&ropolitain, accumulates) there is sense in concluding that the behaviour of French clips leaves room for greater circumspection. Two issues complicate the hypothesis of approximate halving. There is the issue of clip-core as opposed to the point of realisation of clip terminal. (Some clip-cores are identified with a vowel whereas some clip terminals are realised as consonants). There is also the issue of some source-words that do not convincingly lend themselves to approximate halving because of the uneven number of their syllables as the example above will show.
As both issues hinge upon syllabic considerations, it is proposed that clipping in French is governed essentially and primarily by the principle of left-ward syllable deletion. By virtue of this principle, any clip-prone word will require to delete left-wards its syllables. Furthermore, the extent of deletion will be governed by the number and nature of syllables constituting the clip-prone word. A comprehensive view of the data at our disposal leaves us with this general formula:
A. a 2-syllable word will delete the second syllable as in:
B. d'acc/ord a 3-syUable word will delete the third syllable as in:
C. retro/grade, sympa/thique, micro/phone, cineVma a 4-syllable word will delete the fourth syllable as in: magn&o/phone, dactylo/graphe.
In all cases, the need to keep intact the natural boundary of compound words or words derived by affixation is maintained, such that, in a way, it takes precedence over the deletion principle. More precisely, it directs the extent of application of the deletion principle. Thus, where the left-ward syllable deletion allowed by the above-mentioned formula does not coincide with the natural boundary between constituent units of compounds or derivations, the deletion continues until it obliterates the terminal unit of the compound or the derivation. A good example is provided by 'philosophic' where deleting the fourth syllable is incapable of taking account of -sophie whose identity in French as suffix is not in doubt. Hence deletion has to engulf the whole unit Other examples are: extraordinaire photographic psychologic aristocratic radiophonie
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automobile homosexuel mettopolitain.
What then informs the cupping of'UirxHatoire' as 'labo' and not
'labors'? The consideration is thatFiench dips do not end in /a/as we shall soon show and that where/a/is involved as terminal sound, clippingtakes place afteraone-step.left-ward syllable shift unless the consonant preceding the vowel is a plosive. In that case, the consonant stands as terminal. This partly explains why 'embroc' is the clipped version of 'embrocation' whereas 'labo' is the clip for
'laboratoire.'
Besides then- syllabic structure, French clips show evidence of a terminal feature which is worth considering: the terminal sounds. Out of the 55 samples in the data, only 12 terminate in a consonant All the others end vocalically. Here is the list of the 12 clips with consonant-finals.
1. foot, 2. manif, 3. super, 4. bac, 5. prof, 6. gym, 7. tram, 8. puff,
9. sec, 10. math, 11. d'ac, 12. fac.
While the type of consonant ending that is favoured is not easily predictable, the vowels involved in this study seem to be limited, each having a certain degree of frequency. Here are the vowels involved listed in order of frequency:
/ o / - 37 times
/e/
/i/
-
-
/y/ -
/ø/ -
3 récré(ation) télévision) ciné(ma)
3 "taxi(métre) mini(mum), maxi(mum)
1 ce: accu(mulateur)
1 ce: pneu(matique)
/ / - 1 ce: colon(el)
From the count, it is clear that clips ending in/o/ are by far the most common, taking up as much as 80.43% of the total cases of clips ending in vowels and 67.27% of the 55 clips. The lowest percentageof occurrence: 1.81% issharedin equal proportion by /y/ /ø/ and / /. Clips ending in /o/ present a picture that cannot be fully appreciated unless the full word is constantly related to them. The first general picture is that only words with an /o/ spine can have their clips in /o/. This conclusion is simply buttresed by the fact that at least 29 clips from the data stem from words whose spine is/o/. Words like philosophic, moto-cyclette, crododile, météorologie, radiophonie, promotion, mangdtophone, velomoteur, chronometer would appear as a significant evidence of the validity of such a picture.
But we need to qualify the statement by recognizing two types of AV - ending clips in French: (1) those whose source-words possess/o/as spine (the items we have just considered fall under this category); (2) those whose sourcewords have no obvious /o/ as spine. Source-words like frigidaire, propri&aire, aperitif, mecanicien which have yielded firigo, proprio, apero, mecano respectively are good examples of words with vowels other than /o/ as spine. Yet the second set of clips are different only to the extent that they issue from a different phonological environment Thus, unlike the first set, the second type of
/ o / - ending clips undergo some morphological processing before they manifest tfaenaetvei at the surface level. The juncture between the clip-prone unit and its terminal units
104

would appear to be characterized by some kind of sound replacement rule. This rule has its restrictions: it applies only in cases where the juncture is marked by
/i/ or /je/, each immediately preceded by a consonant. Once this condition is satisfied, the rule allows for /i/ or /e/ as the case may be, to be replaced by /o/ as vowel terminal for the emergent clip. This rule however applies if the terminal morpheme is bound. While the examples of -daire, -cien, -taire, -tif, illustrate bound terminal morphemes and bring into application the sound replacement rule, items like -metre, make it predictable that the rule will not apply in 'taximetre'. Finally, the terminal morpheme in question should not be seen as having a pronounced foreign status. Consider in this light -mum in 'minimum' and
'maximum’ which still retains a strong scent of its latin origin especially in normative French, (cf 'minima’ and 'maxima' being plurals of 'minimum' and
'maximum’ respectively).
The application of the sound replacement rule where necessary thus contributes to the claim that /o/ has a strong productive pull in clip-final situations. The attraction of /o/ as clip-final vowel seems to explain the treatment undergone by 'dictionnaire' which is clipped as 'dico’. Perhaps it should be added that a shift of the clip to the second syllable of source-word would lead to another lexical item 'diction' with its own semantic status and hence to avoidable ambiguity. Yet taking -aire dependent morpheme would yield diction + vowel,"and contradict the economic intention of the clip to reduce the original to about a half of its length measured in time or in syllables. Now, given the frequency and availability of the item, there is enough clipping predictability.
The shift to the first syllable 'die’ solves the two problems just raised. That 'die’ is suffixed by a vowel stems from our evidence that 80.43% of clips end in vowels, and that /o/ is the vowel selected is a result of the productive pull of this vowel to the extent that one can say that in moments of doubt the probability of a French clip ending in /o/ is 80+%.
Another instance of the productive pull of /o/ is provided by the clip
'bachot' pronounced /bajo/, a variant of 'bac' both derived from 'baccalaurgat'.
It may well be observed that, for clipping purposes, the language avoids all the significant marks of morpho-syntax that may appear at the end of the word, so that, at the end of clipping operation, no evidence is left of morphosyntactic processing. In other words, before applying other principles, the language should apply the principle of process index avoidance. For example,
'accumulateur' from which 'accu' is derived bears at least two morpho-syntactic marks: -at and -eur. These are automatically dropped, leaving as underlying from the trisyllabic sequence: 'accumu' upon which clipping procedure is expected to be based. Hence, if the principle of left-ward syllable deletion is applied subsequently to the third syllable we have the disyllabic clip: accu. The same thing applies to 'climatiseur' which has tis- and- eur as process index markers without the latter, we have 'clima' since /a/ is not a property of clipping in final positions, the immediate preceding consonant /m/ is taken as the terminal.
Other words to which the process index avoidance principle needs to be
105

applied are: manifestation and professeur. By applying that principle, we have
'manifes-' and 'profes-' respectively. How die final clip realisation is 'maniF and
'prof respectively is explained later in this paper.
Notice that there is no S-syllable word that does not bear evidence of process index. In other words, the longer a word is the greater the likelihood of its bearing process index in the form of a morpho-syntactic mark.
Another significant point of interest in die delineation of the properties of clips is the fact that the terminal morpheme of the clip-prone source-word is usually very productive. This is to say that this morpheme is usually capable of being used in other contexts. Owing to its displaceable character, it has a rich derivational capacity, such that other lexical items, though not necessarily open to clipping, emerge in French. The following terminal morphemes readily come to mind:
- logie, -phone, -graphic, -politain, -ation, -iste, -isseur, -cyclette, theque.
The table below shows the way in which these morphemes copied from their clip environment behave both in the clip environment and elsewhere.
Terminal Morpheme Clip Environment Elsewhere
-logie
-phone
-graphie
-ation
-iste
-esseur
-cyclette
-theque
-graphe psycho(logie) radio(phone) photo(graphie) geo(graphie) récré(ation) anarcho(iste) prof(esseur) moto(cyclette) disco(theque) biblio(theque) phono(graphe) styio(graphe) phonologie téléphone topographie population communiste confesseur bicyclette photographe homographs dactylo(graphe)
What issues from this consideration is that the morphological character of the terminal morpheme of the French word even when the latter is easily seen as capable of being broken into two approximate halves is not sufficient as a clue to predicting clippability. Put in another way, an analysis based not on the. initial morpheme but on the terminal is most likely to lead to error, since it is not all words that end in the same way that are capable of being clipped.
But for a few exceptions -graphic, -graphe, and -theque which as the table also shows, appears more than once for clipping purposes, a terminal morpheme is generally associated with just one clip, in order to avoid ambiguity.
Notice, however, that the double or multiple exploitation of the terminal morpheme for clipping purposes occurs only in a situation when one of die clips is already so
106

frequently used in the language that it hardly strikes the user as a clip. Such a
'bleached' clip is gradually complemented by another one traceable to the same terminal morpheme. Compare sets A and B made up of bleached clips and full clips respectively:
A B photo and géo disco and biblio stylo and phono
Yet the existence of 'dactylo' along with 'stylo’ both having almost the same frequency of occurrence, and both traceable to the same terminal morpheme 'graphe' seems to suggest that the behaviour of clips in French is not all that straightforward. It may well point to the need for us to hierarchicize the clips according to their degree of bleaching. Conversely when we look at die resultant clips, we find out that even though die derivational output of die clips is theoretically infinite, French usage generally tends to confine most clips to one unmistakable semantic image. Thus, when we hear 'psycho' we do not have any difficulty understanding that die clip is, semantically speaking, a variant of
'psychologic' and not that of any other item with 'psycho' as prefix or even with
'logie as suffix. In die same manner, télé even though capable of attracting items like -gramme, -phone, -vision, etc., has gone down in usage as a reduced form of
'television’ only, keeping die same semantic paradigm as die latter. This lexicosemantic feature of clips does suggest seriously that die use of clips in French is an economic formula whose validity and effectivenes rest significandy (though not solely) upon inambiguity of reference as shared conventionally by die whole language community.
If in general, die French clip ends in a vowel of one kind or another, how do we explain die occurrence of/f/, /k/,/1/, /m/,/t/, /r/as clip-finals? Please see below die key examples.
/f/ /k/ /I/ /m/ /t/ /r/ manif bac prof sec pull tram foot super gym math (French) Inter embroc clim
* An exception to diis tendency is kilo, which can be clipped from 'kilometre'or
'kilogramme.'
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We shall attempt to answer die question by offering time basic explanations each capable of of accounting for a set of items. First it appears that from the table, loan compounds usually made of two fine morphemes are clipped in such a way as to keep intact the initial morpheme. The examples of tram (way), foot (ball), pull (over) seem to justify mis conclusion. The need to keep intact the initial morpheme takes precedence over the dissylable condition.
Equally significant is the anxiety to keep natural boundary of the compounds whether loan or indineous. Thus, using as example ‘supercarburant,’
‘international’ we are left with ‘super’ and ‘inter’ respectively, with respect to
'super' used sometimes as clip for 'superieur,’ our opinion is that mis has arisen from neological attraction.
The case of 'manif.' 'prof,' 'benef’ points to yetanother condition for clipping in French. It seems that when /f/ is followed by the sequence /∑/ + /s/ in clip junctures that sequence is deleted. Such that /f/ becomes the terminal sound. In other words, the extent of left-ward syllable deletion is also quided by the position of certain sound sequences provided that the sound immediately preceding the sound sequence /∑/ + /s/ is /f/, that sound sequence is deleted while /f/ is retained as the terminal sound of the cup. Here, the implication for the syllable structure of the clip is obvious. It does mean that the condition just highlighted takes precedence over conventionalised disyllabification. Hence,
‘prof’ is monosyllabic whereas it is not derived from a foreign word like 'foot' or
'gym.'
Perhaps a reliable interpretation of 'sec' should see the clip in the context of 'secondes' being determined by a numeral adjective, in this case by
'cinq'. This leaves us with a 3-syllable production. Since our rule says that cups in3-syllaWe contexts are realised by deleting the third syllable, it is easy to imagine why 'secondes' should lose its terminal syllable. But then the 'e' being weak needs a consonant, hence, /k/. But the point here is that die cup-'sec’ betrays the contemporary dependence on die written medium of French for subsequent oralisation. For, if the clipping of 'secondes' pronounced /s∂g ɔ d/ would take place in a clear oral environment with phonetic data feeding the processing, the chp would have been /s∂g/ and not /s
ε k/.
In the case of both 'pneu’ and 'math’ which are clipped from
'pneumatique’ and 'inamftnatiques' respectively, a consideration of the behaviour of words with -atique suffixation and the indispensable preceding nasal
/m/(cfsystema-tique, problemadque, symptomatique) might tend to suggest mat matique(s) is treated (albeit wrongly) as the terminal unit of the source-word all on the basis of generalised analogy. If we agree that -matique(s) is the terminal unit dropped, it can be argued that in the case of 'mathematiques' (e) is epenthetic and is required only to facilitate affixation in a context of c+c structure. White 'pnenmatique' satisfies the condition of direct affixation because of its v+c structure, 'mathemnatiques’ meets the requirement of indirect affixation because
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of its c+c structure.* Consequently, if the de-suffixation of -matiques in
‘mathématiques' should take place, it carries with it the epenthetic ‘e’ since the application of the latter occurs strictly in suffixation context as described above.
Hence, we have 'math’ rather than 'mathé' as clip from mathématiques'.
The principle of left-ward syllable deletion which characterizes all the dipping operations witnessed so far is also germane to the discussion of the following clips but in a special way: clim from climatiseur bac from baccalauréat embroc from embrocation
The items, when compared with the other items in the other items in the data, tend to suggest that /a/ is not welcome as terminal vowel for clips in
French, except where the clip is used adjectivally (hence the exception of
'sympa' 'extra').
If /a/ is not welcome except under the conditions indicated, it is perhaps easy to account for the form of clips derived from 'climatiseur,' 'baccalaureat,' and 'embrocation.'
To account for the current form of the clips under review, appeal must be made to the mechanism of syllable shift that seems to characterize such items. The principle seems to be that /a/ spine in noun contexts must be replaced by a consonant terminal which is provided by the consonant immediately preceding the /a/ spine. clim a tiseur bacc a laureat embroc a lion
Notice that this process refines the condition of approximate halving by stipulating a tacit order of application viz: that raw approximate halving is not possible where, as in the case of 'climatiseur' and 'baccalaureat,' the operation runs the risk of resulting in an /a/ - final clip.
The principle of left-ward syllable deletion also accounts for bisyllabic words like 'd'accord. Clips derived from such words end consonantally unless the words manifest themselves superficially as being already processed with processed output being longer than the primary form. Compare in this regard
'accumulateur' which does not end consonantally because its surface manifestation is not only longer than the primary form 'accumuler' but bears evidence of morpho-syntactic marking.
* This analysis, is of course plausible only if it ignores the diachronic information regarding the latin origin of both words and according to which
'matique' is not a suffix.
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Conclusion
The intention of the paper has been to show that eliding in French is a subject to some degree of systematic analysis. In sum, the following could be given as the principal issues involved: a. b. c. d. the principle of left-ward syllable deletion die morphological status of the item as compound, derived or simple the historical status of the item as a loan the categorial status of the item as noun or adjective e. the syntactic status of the item as processed or unprocessed.
The principles which seem to be governing the behaviour of clips in French are supposed to be interpreted in a dynamic fashion: this is because the principles are inter-woven in the sense of one implying the others or one presupposing a type of selective applicability to theexclusion of another. It should beemphasized that the issue of approximate halving is not a condition for clipping but a result of the application of the principles. Because of space, other issues related to clipping in French e.g. the grammatical categories affected, the effect of clipping on language use, the rapport between the type of clip considered so far and other types of lexical reduction etc. have been left unprobed.
Yet the analysis offered is not without its thorny edges as it leaves as an enigma the status of *fac* clipped from 'facult6'. 'Facultd' is a 3-syllable item yet it does not delete the third syllable; it bears no evidence of processing and yet stretches its left-ward syllable deletion beyond the third syllable to engulf a significant part of the second syllable.
APPENDIX
1.
2.
3. d'accord accumulateur aperitif
4. anarchiste
5. aristocrate
6. automobile
7. baccalauréat
8. bibliothèque
9. cinéma
10. climatiseur
11. chronomètre
12. colonel
13. crocodile
14. dactylographe
15. dictionnaire
FRENCH CLIPS
-
-
- d'acc accu apero
-
-
-
- anarcho aristo auto bac
-
-
-
-
-
-
-
- biblio ciné clim chrono colon croco dactylo dico
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16. discotheque -
17. embrocation -
18. extraordinaire -
19. football
20. faculté
-
-
21. frigidaire
22. gymnase
23. homosexuel
24. international
-
-
-
-
25. introduction -
26. kilométre -
27. kilogramme -
28. laboratoire -
29. magnetophone -
30. manifestation -
31. mathématiques -
32. mécanicien
-
33. métropolitain -
34. microphone -
35. philosophie -
36. phonographe -
37. photographie -
38. pneumatique -
39. professeur -
40. promotion
41. propriétaire
42. psychologie
43. public
-
-
-
-
44.
45. pullover radiophonie
46. récréation
47. restaurant
48. retrograde
49. seconde
50. sous-officer
51. stylographe
52. sympathique
53. taximeter
54. télévision
55. tramway
-
-
-
-
-
-
-
-
-
-
-
- mecano métro micro philo phono photo pneu prof promo proprio psycho pub pull radio récré restau disco embroc extra foot fac frigo gym homo inter intro kilo kilo labo magneto manif math rétro sec sous-off stylo sympa taxi télé tram.
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Monograph, MIT Press, 1981.2nd ed.).
Adams, V., Introduction to Modern English Word Formation, London, 1975.
George, K.E.M., "L'apocope et 1'apherese en fran^ais familier et argotique."
Lefrangais moderne 48" annee 1980, No. 1 pp. 16-37.
Grevisse, M., Le Bon Usage. Duculot 1980 p. 133-4
Grevisse, M., et j. Goose, Nouvelle Grammaire Frangaise, Duculot 1980 p. 36
Franchise.
Marchand, H., The Categories and Types ofPresent-day English Word Forma tion, 2nd Ed. Munich 1969.
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