Second edition

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unwanted’; a show-off — ‘a person who shows off from to show off — ‘make a display of one’s abilities in order to impress people’. Derivational compounds of this group are spelt generally solidly or with a hyphen and often retain a level stress. Semantically they are motivated by transparent derivative relations with the motivating base built on the so-called phrasal verb and are typical of the colloquial layer of vocabulary. This type of derivational compound nouns is highly productive due to the productivity of conversion.
The semantic subgroup of derivational compound nouns denoting agents calls for special mention. There is a group of such substantives built on an attributive and verbal-nominal type of phrases. These nouns are semantically only partially motivated and are marked by a heavy emotive charge or lack of motivation and often belong to terms as, e.g., a kill-joy, a wet-blanket — ‘one who kills enjoyment’; a turnkey — ‘keeper of the keys in prison’; a sweet-tooth — ‘a person who likes sweet food’; a red-breast — ‘a bird called the robbin’. The analysis of these nouns easily proves that they can only be understood as the result of conversion for their second ICs cannot be understood as their structural or semantic centres, these compounds belong to a grammatical and lexical groups different from those their components do. These compounds are all animate nouns whereas their second ICs belong to inanimate objects. The meaning of the active agent is not found in either of the components but is imparted as a result of conversion applied to the word-group which is thus turned into a derivational base.
These compound nouns are often referred to in linguistic literature as “bahuvrihi” compounds or exocentric compounds, i.e. words whose semantic head is outside the combination. It seems more correct to refer them to the same group of derivational or pseudo-compounds as the above cited groups.
This small group of derivational nouns is of a restricted productivity, its heavy constraint lies in its idiomaticity and hence its stylistic and emotive colouring.