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정보 초점","eosun-idong-gwa-jeongbo-chojeom",165,{"id":836,"title":837,"slug":838,"language":9,"level":683,"displayOrder":839},"01a07863-dab5-740e-83b8-33f381df3c93","조사 결합과 의미 범위","josa-gyeolhap-gwa-uimi-beomwi",166,{"id":841,"title":842,"slug":843,"language":9,"level":683,"displayOrder":844},"01a07863-d717-7c49-836e-9cd2147ab799","보조사 '-조차·-마저·-까지도'","bojosa-jocha-majeo-kkajido",167,{"id":846,"title":847,"slug":848,"language":9,"level":683,"displayOrder":849},"01a07863-d987-7c0b-91c8-c3837f99a60f","하오체의 형태와 사용 맥락","haoche-ui-hyeongtae-wa-maengnak",168,{"id":851,"title":852,"slug":853,"language":9,"level":683,"displayOrder":854},"01a07863-d94e-7f7d-bd36-aea815da0959","하게체의 형태와 사용 맥락","hageche-ui-hyeongtae-wa-maengnak",169,{"id":856,"title":857,"slug":858,"language":9,"level":683,"displayOrder":859},"01a07863-d858-74ca-b8ff-d9b13d4b0e74","간접 부탁과 완곡한 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태도","inyong-dongsa-ui-seontaek",195,{"id":987,"title":988,"slug":989,"language":9,"level":899,"displayOrder":990},"01a07863-d70b-7796-861c-b6fde39f3320","비인칭 피동과 책임 회피","biinching-pidong-gwa-chaegim-hoepi",196,{"id":992,"title":993,"slug":994,"language":9,"level":899,"displayOrder":995},"01a07863-dbfe-7715-a73d-d97b70250059","사동 구문과 책임의 범위","sadong-gumun-gwa-chaegim-beomwi",197,{"id":997,"title":998,"slug":999,"language":9,"level":899,"displayOrder":1000},"01a07863-dba0-7c89-90d4-2eef83532006","높임 표현의 충돌과 우선순위","nopim-pyohyeon-ui-chungdol",198,{"id":1002,"title":1003,"slug":1004,"language":9,"level":899,"displayOrder":1005},"01a07863-db20-75e4-9e91-1851bedaec66","말하기 등급의 전환과 관계 재조정","malhagi-deunggeup-ui-jeonhwan",199,{"id":1007,"title":1008,"slug":1009,"language":9,"level":899,"displayOrder":1010},"01a07863-dcba-7864-9960-b92f40934922","완곡어법과 체면 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차이","jeongdoseong-geukdanseong-ui-chai",215,{"id":1087,"title":1088,"slug":1089,"language":9,"level":1090,"displayOrder":1091},"01a07863-d96c-7023-bb30-3a3d8f787aa2","한글 맞춤법의 역사적 변화","hangeul-matchumbeop-ui-yeoksajeok-byeonhwa","C2",216,{"id":1093,"title":1094,"slug":1095,"language":9,"level":1090,"displayOrder":1096},"01a07863-db03-771f-a039-b9257e399114","중세 한국어 문법의 현대 한국어 흔적","jungse-hangugeo-munbeop-ui-heunjeok",217,{"id":1098,"title":1099,"slug":1100,"language":9,"level":1090,"displayOrder":1101},"01a07863-da9b-74e0-aa05-b70e5e015c3d","지역·세대·사용역에 따른 발음 변이","jiyeok-sedae-sayongyeok-bareum-byeoni",218,{"id":1103,"title":1104,"slug":1105,"language":9,"level":1090,"displayOrder":1106},"01a07863-d8dd-7b49-bcf9-020299f60a53","고전 문헌의 말하기 등급","gojeon-munheon-ui-malhagi-deunggeup",219,{"id":1108,"title":1109,"slug":1110,"language":9,"level":1090,"displayOrder":1111},"01a07863-d8e4-7f0a-9847-6e75a50aa53d","고전적 높임 표현과 현대의 잔존형","gojeonjeok-nopim-pyohyeon",220,{"id":1113,"title":1114,"slug":1115,"language":9,"level":1090,"displayOrder":1116},"01a07863-d6d4-7878-ad37-a4982f125903","방언의 말하기 등급과 사회적 의미","bangeon-ui-malhagi-deunggeup",221,{"id":1118,"title":1119,"slug":1120,"language":9,"level":1090,"displayOrder":1121},"01a07863-d80d-7c71-85f6-c3236a70cc6b","언어 형식의 사회적 지표성","eoneo-hyeongsik-ui-sahoejeok-jipyoseong",222,{"id":1123,"title":1124,"slug":1125,"language":9,"level":1090,"displayOrder":1126},"01a07863-d737-779b-ad54-78d521a176d0","복합 사용역과 문체 혼합","bokhap-sayongyeok-gwa-munche-honhap",223,{"id":1128,"title":1129,"slug":1130,"language":9,"level":1090,"displayOrder":1131},"01a07863-da4d-7c0e-aee9-47ad0c32ab41","전달 정보의 증거성과 화자 개입","jeondal-jeongbo-jeunggeoseong-hwaja-gaeip",224,{"id":1133,"title":1134,"slug":1135,"language":9,"level":1090,"displayOrder":1136},"01a07863-d9f3-784c-8444-b4e48a91a5f4","인식·당위·능력 양태의 중첩","insik-dangwi-neungnyeok-yangtae-jungcheop",225,{"id":1138,"title":1139,"slug":1140,"language":9,"level":1090,"displayOrder":1141},"01a07863-d87d-7421-a10d-016685c3019e","극도로 중첩된 종속 구조","geukdoro-jungcheopdoen-jongsok-gujo",226,{"id":1143,"title":1144,"slug":1145,"language":9,"level":1090,"displayOrder":1146},"01a07863-db6c-76c8-9d8d-1bf0ff302356","명사구 내부의 다중 수식 범위","myeongsagu-naebu-dajung-susik-beomwi",227,{"id":1148,"title":1149,"slug":1150,"language":9,"level":1090,"displayOrder":1151},"01a07863-d7a7-7713-b582-4635b340fb8c","다층 인용과 발화 책임","dachung-inyong-gwa-balhwa-chaegim",228,{"id":1153,"title":1154,"slug":1155,"language":9,"level":1090,"displayOrder":1156},"01a07863-dc93-7bf7-baaf-646f405d0a93","통사적 중의성과 구조 해석","tongsajeok-junguiseong-gujo-haeseok",229,{"id":1158,"title":1159,"slug":1160,"language":9,"level":1090,"displayOrder":1161},"01a07863-d747-7d02-9170-02c9242f260d","부정의 범위와 중의성","bujeong-ui-beomwi-wa-junguiseong",230,{"id":1163,"title":1164,"slug":1165,"language":9,"level":1090,"displayOrder":1166},"01a07863-dc82-74cf-aed9-03ef012ba1ae","수량사의 작용역과 범위","suryangsa-ui-jagyongyeok-gwa-beomwi",231,{"id":1168,"title":1169,"slug":1170,"language":9,"level":1090,"displayOrder":1171},"01a07863-d7c0-7033-8973-1acd78835224","다중 주제 구조와 화제 계층","dajung-juje-gujo-hwaje-gyecheung",232,{"id":1173,"title":1174,"slug":1175,"language":9,"level":1090,"displayOrder":1176},"01a07863-db0f-7d14-b181-22045286272f","좌측·우측 전위와 담화 기능","jwacheuk-ucheuk-jeonwi",233,{"id":1178,"title":1179,"slug":1180,"language":9,"level":1090,"displayOrder":1181},"01a07863-d75d-772e-9d3e-5b6275433f2d","분열문과 초점 구조","bunyeolmun-gwa-chojeom-gujo",234,{"id":1183,"title":1184,"slug":1185,"language":9,"level":1090,"displayOrder":1186},"01a07863-dc88-7813-ac0c-b5506052d4fc","수사적 생략과 여백의 효과","susajeok-saengnyak-gwa-yeobaek",235,{"id":1188,"title":1189,"slug":1190,"language":9,"level":1090,"displayOrder":1191},"01a07863-dc1b-7dc0-832f-4f108853f305","상호 텍스트성과 변형 인용","sangho-tekseuteuseong-byeonhyeong-inyong",236,{"id":1193,"title":1194,"slug":1195,"language":9,"level":1090,"displayOrder":1196},"01a07863-d979-798b-b0e1-1f25c0511cbb","한자어 중심 문체의 압축성","hanjaeo-jungsim-munche-ui-apchukseong",237,{"id":1198,"title":1199,"slug":1200,"language":9,"level":1090,"displayOrder":1201},"01a07863-d6ec-7d59-96d2-3ffd339ca6c2","법률·행정 문체의 문법","beomnyul-haengjeong-munche-ui-munbeop",238,{"id":1203,"title":1204,"slug":1205,"language":9,"level":1090,"displayOrder":1206},"01a07863-d95e-724f-aebc-136eef75e32d","학술 문체의 고도 명사화","haksul-munche-ui-godo-myeongsahwa",239,{"id":1208,"title":1209,"slug":1210,"language":9,"level":1090,"displayOrder":1211},"01a07863-db4f-75fe-832e-52c746aeace4","문학 서사의 시점과 화자","munhak-seosa-ui-sijeom-gwa-hwaja",240,{"id":1213,"title":1214,"slug":1215,"language":9,"level":1090,"displayOrder":1216},"01a07863-da34-7109-a69e-dcc4f425ced7","자유 간접 화법과 의식의 표현","jayu-ganjeop-hwabeop",241,{"id":1218,"title":1219,"slug":1220,"language":9,"level":1090,"displayOrder":1221},"01a07863-dc71-7158-bad9-cc4b5c91a482","속담·관용구의 변형과 재맥락화","sokdam-gwanyonggu-byeonhyeong",242,{"id":1223,"title":1224,"slug":1225,"language":9,"level":1090,"displayOrder":1226},"01a07863-dcb3-7256-be14-3efead0203a1","의성어·의태어의 파생과 활용","uiseongeo-uitaeeo-pasaeng-hwaryong",243,{"id":1228,"title":1229,"slug":1230,"language":9,"level":1090,"displayOrder":1231},"01a07863-dc69-7a26-9a3b-aaffc3c91e21","신조어의 파생 문법과 확장","sinjoeo-ui-pasaeng-munbeop",244,{"id":1233,"title":1234,"slug":1235,"language":9,"level":1090,"displayOrder":1236},"01a07863-db09-7a45-a9a7-3b2525079877","중의성과 응집성을 다듬는 고급 퇴고","junguiseong-eungjipseong-gogeup-toego",245,{"id":1223,"title":1224,"slug":1225,"seoDescription":1238,"content":1239,"language":9,"level":1090,"displayOrder":1226,"grammarTopics":1240,"createdAt":1246,"updatedAt":1247,"vocabularyLists":1248,"primaryTopicHub":1745,"readyImages":1747},"의성어·의태어가 반복·음운 교체·접미사 결합을 통해 부사와 용언으로 확장되는 과정을 분석합니다. 반짝이다·반짝거리다·반짝대다의 상적 차이와 실제 활용형을 비교하고, 음상·문체·통사 위치를 조절해 감각적이면서도 자연스러운 표현을 만드는 기준을 익힙니다.","한국어의 의성어·의태어는 장면을 꾸미는 부사에 머물지 않는다. 반복과 음운 교체로 감각의 크기와 지속성을 조절하고, **-하다·-이다·-거리다·-대다**와 결합해 활용하는 용언이 된다. 어떤 형식을 고르느냐에 따라 한 번의 충격, 반복되는 움직임, 화자의 정서적 거리까지 달라진다.\n\n이 글을 마치면 다음을 할 수 있다.\n\n- 의성어와 의태어의 중심 기능과 경계 사례를 설명한다.\n- 반복·첨가·자음 및 모음 교체가 만드는 형태·의미 효과를 분석한다.\n- 흉내말 어근에 접미사를 붙여 만든 용언을 정확히 활용한다.\n- 생산적인 새 표현과 부자연스러운 기계적 조합을 구별한다.\n\n## 1. 소리와 모양을 언어로 범주화하기\n\n*의성어*는 실제 소리를 흉내 내고, *의태어*는 소리가 없는 움직임·상태·감각을 언어적으로 묘사한다.\n\n| 유형 | 중심 대상 | 예 | 결합 예 |\n| --- | --- | --- | --- |\n| 의성어 | 충돌음, 울음소리, 마찰음 등 | 쾅, 짹짹, 보글보글 | 문이 **쾅** 닫혔다. |\n| 의태어 | 빛, 움직임, 태도, 촉감 등 | 반짝, 살금살금, 꾸벅꾸벅 | 별이 **반짝** 빛났다. |\n| 경계 사례 | 소리와 움직임이 함께 지각됨 | 덜컹덜컹, 철썩철썩 | 차가 **덜컹덜컹** 움직였다. |\n\n분류가 항상 절대적인 것은 아니다. **덜컹**은 소리를 가리키면서 그 소리를 내는 흔들림도 떠올리게 한다. 실제 문장에서 무엇을 묘사하는지가 중요하다.\n\n:::note\n‘흉내말’은 의성어와 의태어를 함께 가리키는 편리한 말이다. 이 글에서는 형태 형성 전체를 설명할 때 흉내말이라는 용어도 사용한다.\n:::\n\n## 2. 반복은 지속성과 장면을 만든다\n\n흉내말은 단순한 접사 파생 외에도 반복·첨가·교체를 통해 새 형태를 만든다.\n\n| 형성 방식 | 예 | 흔한 효과 |\n| --- | --- | --- |\n| 단일형 | 반짝, 쾅, 꾸벅 | 한 번의 사건이나 순간적 인상 |\n| 완전 반복 | 반짝반짝, 쾅쾅, 꾸벅꾸벅 | 반복·지속·복수의 움직임 |\n| 교체 반복 | 울긋불긋, 엎치락뒤치락 | 서로 다른 상태의 교대·다양성 |\n| 일부 첨가·확장 | 잘각 → 잘가닥 | 소리의 길이·과정·질감이 더 구체화됨 |\n\n“별이 **반짝** 빛났다”는 순간의 빛을 포착하고, “별이 **반짝반짝** 빛났다”는 반복되거나 이어지는 반짝임을 장면화한다. 그러나 반복형이 언제나 단일형의 복수만 뜻하는 것은 아니다. 반복되며 하나의 상태나 성질을 나타내는 어휘로 굳어질 수도 있다.\n\n:::example\n- 아이가 한 번 **꾸벅** 인사했다. — 한 차례의 동작\n- 아이가 계속 **꾸벅꾸벅** 졸았다. — 반복되는 머리 움직임\n- 창문이 바람에 **덜컹** 흔들렸다. — 한 번의 충격이 두드러짐\n- 창문이 밤새 **덜컹덜컹** 흔들렸다. — 지속·반복되는 사건\n:::\n\n## 3. 음운 교체와 음상의 관계\n\n한국어 흉내말에서는 모음이나 자음이 바뀌면서 감각적 인상도 달라지는 계열이 발달해 있다.\n\n- **반짝-번쩍**: 빛의 크기·강도·갑작스러움에 관한 인상이 달라진다.\n- **보글보글-부글부글**: 끓는 움직임의 규모와 격렬함이 달라진다.\n- **반들반들-번들번들**: 표면의 빛남을 나타내지만 질감과 평가가 달라진다.\n- 여린소리·된소리·거센소리의 교체는 충격의 세기나 날카로움과 관련된 계열을 만들 수 있다.\n\n이러한 관계를 *음상* 또는 *음성 상징*으로 설명할 수 있다. 흔히 양성 모음 계열은 작고 밝은 인상, 음성 모음 계열은 크고 어두운 인상과 연결되지만, 모든 단어에 기계적으로 적용되는 규칙은 아니다. 실제 단어의 뜻과 관습적 평가가 이미 분화되어 있을 수 있다.\n\n:::warning\n모음만 바꾸어 ‘작은말·큰말’을 자유롭게 만들 수 있다고 생각하지 말라. 사전에 없는 형태라도 실제 쓰임이 있으면 창조적으로 사용할 수 있지만, 독자가 같은 음상을 공유하는지는 별도로 확인해야 한다.\n:::\n\n## 4. 흉내말 어근에서 용언 만들기\n\n의성어·의태어 어근은 여러 접미사와 결합해 동사나 형용사 기능을 하는 용언이 된다.\n\n| 형식 | 예 | 전형적인 관점 |\n| --- | --- | --- |\n| 어근+**-하다** | 반짝하다, 덜컹덜컹하다, 소곤소곤하다 | 그런 소리를 내거나 모양·상태를 보임 |\n| 어근+**-이다** | 반짝이다, 꾸벅이다, 끄덕이다 | 단위 동작이나 반복 가능한 움직임을 서술함 |\n| 어근+**-거리다** | 반짝거리다, 덜컹거리다, 출렁거리다 | 움직임·소리가 거듭되거나 이어짐 |\n| 어근+**-대다** | 반짝대다, 덜컹대다, 꿈틀대다 | 반복성을 생생하고 구어적으로 드러내는 경향 |\n\n하나의 어근이 여러 접미사와 결합해도 완전히 같은 뜻이 되지는 않는다.\n\n:::example\n- 멀리서 불빛이 한 번 **반짝했다**. — 짧은 한 차례의 빛\n- 수면 위에서 별빛이 **반짝였다**. — 반짝임이 사건으로 서술됨\n- 간판 불빛이 계속 **반짝거렸다**. — 반복·지속이 두드러짐\n- 장식 조명이 밤새 **반짝댔다**. — 반복을 생생한 말투로 제시함\n\n접미사의 차이는 반복성뿐 아니라 문체와 화자의 태도에도 영향을 준다. 다만 실제 차이는 어근과 문맥에 따라 달라지므로 이 네 형식을 모든 흉내말에 일률적으로 붙일 수는 없다.\n:::\n\n## 5. 파생된 용언은 정상적으로 활용한다\n\n접미사가 붙어 용언이 되면 시제·관형형·연결형·높임 표현이 마지막 어간에 결합한다.\n\n| 기본형 | 해체 현재 | 과거 | 관형형 | 연결형 |\n| --- | --- | --- | --- | --- |\n| 반짝이다 | 반짝여 | 반짝였다 | 반짝이는 | 반짝이면서 |\n| 덜컹거리다 | 덜컹거려 | 덜컹거렸다 | 덜컹거리는 | 덜컹거리니 |\n| 꿈틀대다 | 꿈틀대 | 꿈틀댔다 | 꿈틀대는 | 꿈틀대면서 |\n| 소곤소곤하다 | 소곤소곤해 | 소곤소곤했다 | 소곤소곤하는 | 소곤소곤하며 |\n\n**반짝이다**는 ‘반짝+이다’의 구조를 바탕으로 **반짝여, 반짝이는**처럼 활용한다. 여기의 **-이다**를 서술격 조사 *이다*와 혼동하면 안 된다. 흉내말 어근에 붙어 용언을 만드는 요소다.\n\n맞춤법에서는 **-거리다**가 붙을 수 있는 시늉말 어근에 **-이다**가 붙어 된 용언의 어근을 밝혀 적는다. 그래서 **반짝이다, 꾸벅이다, 끄덕이다**처럼 쓰며 발음만 따라 *반짜기다, 꾸버기다, 끄더기다*로 적지 않는다.\n\n:::tip\n활용이 헷갈리면 파생 접미사를 포함한 기본형을 먼저 찾은 뒤 일반 용언처럼 어미를 붙여라. ‘반짝+였-’이 아니라 **반짝이-+었- → 반짝였다**로 분석하면 형태가 선명해진다.\n:::\n\n## 6. 문장 속 위치가 장면의 초점을 바꾼다\n\n같은 흉내말도 부사, 인용된 소리, 파생 용언 가운데 무엇으로 쓰느냐에 따라 초점이 달라진다.\n\n| 구성 | 예 | 초점 |\n| --- | --- | --- |\n| 부사어 | 빗방울이 **후드득** 떨어졌다. | 떨어지는 방식과 소리 |\n| 소리 인용 | 문이 **‘쾅’ 하고** 닫혔다. | 하나의 소리 사건 |\n| 관형 구성 | 복도에서 **쿵 하는 소리**가 났다. | 소리의 정체를 명사화함 |\n| 파생 용언 | 낡은 창문이 **덜컹거렸다**. | 창문의 지속적 움직임·소리 |\n| 반복 부사+용언 | 창문이 **덜컹덜컹 흔들렸다**. | 장면을 감각적으로 펼침 |\n\n**쾅 닫혔다**와 **쾅 하고 닫혔다**는 모두 가능하지만, **하고**는 소리 자체를 하나의 인용 단위처럼 분리한다. 만화·대화에서는 소리를 독립적으로 제시하기 쉽고, 분석적 산문에서는 행위와 원인을 명시하는 편이 자연스러울 수 있다.\n\n### 주체와 지각자의 관점\n\n“아이가 살금살금 걸었다”는 움직임의 방식을 묘사하고, “아이가 살금거렸다”는 일반적으로 자연스럽지 않다. 생산적인 접미사라도 모든 어근과 결합하지 않는다는 증거다. 반면 “물이 출렁거렸다”는 움직이는 대상이 주어가 되어 자연스럽다. 파생형을 만들 때는 어떤 대상이 그 소리나 모양을 실제로 나타내는지 확인해야 한다.\n\n## 7. 파생형의 상과 문체를 고르기\n\n| 말하려는 장면 | 어울리는 선택 | 이유 |\n| --- | --- | --- |\n| 한 번의 갑작스러운 충격 | **덜컹**, 덜컹하다 | 사건 경계가 선명함 |\n| 계속되는 기계 소리 | **덜컹거리다** | 반복·지속을 서술어에 포함함 |\n| 화자의 생생한 체감 | **덜컹대다** | 구어적이고 역동적인 인상이 강함 |\n| 반복 장면을 시각화 | **덜컹덜컹 흔들리다** | 부사 반복으로 리듬을 만듦 |\n| 중립적 사실 보고 | 흔들리다, 진동하다 | 감각적 평가를 줄임 |\n\n흉내말은 화자의 지각을 전면에 내세우기 때문에 과학·행정 문서에서는 측정 가능한 표현으로 바꾸어야 할 때가 있다. “기계가 덜컹거렸다”는 현장 기록에는 유용하지만, 점검 보고서에는 “작동 중 3초 간격의 충격음과 좌우 진동이 발생했다”가 더 검증 가능하다.\n\n:::danger\n감각이 강한 단어를 여러 개 겹치면 장면이 선명해지는 것이 아니라 서로 경쟁할 수 있다. 한 문장에서 핵심 감각이 소리인지 움직임인지 먼저 정하라.\n:::\n\n## 8. 새 흉내말과 파생형을 점검하기\n\n의성어·의태어는 새로 만들어 쓸 수 있는 생산적인 영역이다. 사전에 없다는 이유만으로 곧 틀린 표현이 되는 것은 아니지만, 생산성에는 독자의 해석 가능성이라는 조건이 따른다.\n\n1. 묘사할 감각을 소리·빛·움직임·촉감 중에서 구체화한다.\n2. 단일 사건인지 반복·지속 사건인지 결정한다.\n3. 기존 자음·모음 계열이 주는 음상을 참고하되 기계적으로 복제하지 않는다.\n4. 부사로 둘지, **-하다\u002F-이다\u002F-거리다\u002F-대다** 파생 용언으로 만들지 고른다.\n5. 해당 어근과 접미사의 결합이 실제 화자에게 자연스러운지 용례를 확인한다.\n6. 파생 용언의 기본형을 기준으로 활용과 맞춤법을 점검한다.\n7. 장르의 격식성과 화자의 평가가 의도에 맞는지 본다.\n8. 감각 표현을 덜어 내도 사건의 주체와 원인이 명확한지 확인한다.\n\n| 확인 항목 | 핵심 질문 |\n| --- | --- |\n| 형태 | 반복·교체·접미사 결합이 한국어의 실제 형성 방식과 맞는가? |\n| 의미 | 소리의 세기, 움직임의 크기, 반복성이 장면과 맞는가? |\n| 통사 | 흉내말이 수식하는 용언이나 파생형의 주어가 자연스러운가? |\n| 활용 | 접미사를 포함한 어간 뒤에 어미를 정확히 붙였는가? |\n| 문체 | 생생함이 필요한가, 측정 가능한 중립어가 필요한가? |\n\n의성어·의태어의 힘은 낯선 소리를 적는 데만 있지 않다. **형태를 바꾸어 사건의 횟수·지속성·관점을 문법적으로 조절하는 능력**에 있다.",[1241],{"id":1242,"name":1243,"level":1090,"language":9,"isCompleted":1244,"completionPercentage":1245,"totalExercises":36,"completedExercises":1245},"01a09c0b-58e4-7f7b-9a7f-5c7ae1b66ab8","파생 표현의 생산성과 정착",false,0,"2026-09-06T20:23:25+00:00","2026-10-11T12:53:37+00:00",[1249],{"id":1250,"title":1251,"vocabularyListWords":1252,"isPublished":1265},"01a07865-2e31-7f94-94ac-d0ab33637861","의성어와 의태어의 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만든다.","\u002Fuploads\u002Faudio\u002Ftts_daa71555ee74ba85_ko-KR.mp3",{"id":1734,"vocabularyWord":1735,"displayOrder":267},"01a07865-2e32-76ab-8458-e0541a59080c",{"id":1736,"word":1737,"frequency":26,"level":1090,"language":9,"audioFilePath":1738,"partsOfSpeech":1739,"audio":1265,"audioUrl":1744},"01a07864-27e1-7716-8b8c-a3217039df83","생산성","tts_3261cec0b58cda83_ko-KR.mp3",[1740],{"id":1741,"partOfSpeech":1262,"definition":1742,"exampleSentences":1743,"isPrimary":1265,"meaningOrder":11},"01a07864-280c-7238-aa66-01fcc01e6830","언어 규칙이나 형성 방식이 새로운 표현을 계속 만들어 낼 수 있는 정도.","새 접미사의 생산성이 높아 여러 신조어에 붙기 시작했다.","\u002Fuploads\u002Faudio\u002Ftts_3261cec0b58cda83_ko-KR.mp3",{"name":1243,"slug":1746,"language":9},"pasaeng-pyohyeon-saengsanseong-jeongchak-c2",[],{"id":1242,"name":1243,"slug":1746,"language":9,"level":1090,"introduction":1749,"lessonCount":16,"totalExercises":36,"objectives":1750,"prerequisites":1754,"lessons":1757},"새 표현이 한국어의 형태와 활용 체계 안에서 만들어지고 정착하는 과정을 살피는 길입니다. 흉내말 파생의 생산성을 분석한 뒤 신조어의 형성과 문법적 확장으로 넓혀 갑니다.",[1751,1752,1753],"의성어·의태어의 형태 변화와 파생 용언 활용을 분석할 수 있다.","신조어의 파생·합성·축약·혼성·차용 방식을 구별할 수 있다.","새 표현의 품사·활용·사용역·규범 정착 정도를 근거로 판단할 수 있다.",[1755,1756],"한국어의 기본 파생 접사와 용언 활용을 안다.","합성어와 파생어의 형태소 구조를 분석할 수 있다.",[1758,1773],{"id":1223,"contentId":1759,"slug":1225,"title":1224,"level":1090,"summary":1760,"order":11,"exercises":1761},"pg_1c710c4b-19ae-4869-ae5a-3f0e59a2696e","흉내말의 반복·음운 교체와 -하다·-거리다·-대다 결합이 만드는 감각·지속·태도 차이를 분석한다.",[1762,1766,1770],{"id":1763,"title":1764,"order":1245,"type":1765},"01a07864-1a39-7734-9a61-09fe1483a95b","Build sentences with mimetic derivations","sentence_builder",{"id":1767,"title":1768,"order":11,"type":1769},"01a07864-1a4f-709a-9c4a-fa2730eac5b7","흉내말의 형태 형성과 정확한 활용","word_select",{"id":1771,"title":1772,"order":16,"type":1769},"01a07864-1a6b-76ae-9dcd-9d7c0bf4a111","문맥에 맞는 흉내말의 통사와 문체",{"id":1228,"contentId":1774,"slug":1230,"title":1229,"level":1090,"summary":1775,"order":16,"exercises":1776},"pg_4069ddc6-e711-4f13-86c3-cb2bca3d7543","파생·합성·축약·혼성·차용으로 생긴 새말이 조사·활용·접사 결합을 통해 문법 체계에 정착하는 정도를 판단한다.",[1777,1780,1783],{"id":1778,"title":1779,"order":1245,"type":1765},"01a07864-168a-7781-a52c-7d0704ad2fbc","파생 신조어 형식을 활용한 문장 구성하기",{"id":1781,"title":1782,"order":11,"type":1769},"01a07864-16a1-7519-84f7-600d4be44999","신조어의 형성, 생산성, 문법적 확장",{"id":1784,"title":1785,"order":16,"type":1769},"01a07864-16c1-7c2a-a359-82fdba934ab4","신조어의 문법적 통합과 사용 맥락",[1787,1793,1797],{"@id":1788,"@type":1789,"id":1763,"grammarPage":1790,"title":1764,"instructions":1791,"displayOrder":1245,"type":1765,"questionCount":56,"blankCount":56,"isCompleted":1244,"ogImageUrl":1792},"\u002Fapi\u002Fgrammar_exercises\u002F01a07864-1a39-7734-9a61-09fe1483a95b","GrammarExercise","\u002Fapi\u002Fgrammar_pages\u002F01a07863-dcb3-7256-be14-3efead0203a1","Arrange the Korean tiles to build one natural sentence in written 한다체. Use every target tile and leave the three decoy tiles unused.","\u002Fuploads\u002Fimages\u002Fgpimg_e3c2d04c-23ef-40f2-90b0-a2fb5d01b767_hero.webp?v=1788726221",{"@id":1794,"@type":1789,"id":1767,"grammarPage":1790,"title":1768,"instructions":1795,"displayOrder":11,"type":1769,"questionCount":81,"blankCount":86,"isCompleted":1244,"ogImageUrl":1796},"\u002Fapi\u002Fgrammar_exercises\u002F01a07864-1a4f-709a-9c4a-fa2730eac5b7","문맥과 형태 분석에 맞는 표현이나 설명을 고르세요.","\u002Fuploads\u002Fimages\u002Fgpimg_e65a0fb3-b5eb-442d-8495-4d2b3795e377_hero.webp?v=1788726221",{"@id":1798,"@type":1789,"id":1771,"grammarPage":1790,"title":1772,"instructions":1799,"displayOrder":16,"type":1769,"questionCount":76,"blankCount":76,"isCompleted":1244,"ogImageUrl":1800},"\u002Fapi\u002Fgrammar_exercises\u002F01a07864-1a6b-76ae-9dcd-9d7c0bf4a111","Choose the Korean form that best fits the sentence focus, aspect, subject selection, and register.","\u002Fuploads\u002Fimages\u002Fgpimg_ac8d9c04-3fc3-4ed4-8fdc-86a64e50d61a_hero.webp?v=1788726221",{"id":1767,"grammarPage":1790,"title":1768,"instructions":1795,"seoTitle":1802,"seoDescription":1803,"displayOrder":11,"type":1769,"questions":1804,"ogImageUrl":1796},"흉내말의 범주와 형태 형성 분석하기","빈칸에 알맞은 답을 골라 흉내말의 범주와 형태 형성 원리를 분석해요. 지글지글처럼 소리를 흉내 내는 의성어, 모양을 그리는 의태어, 통통처럼 두 범주의 경계에 선 사례를 구별하고, 반복과 모음 교체, 접미사 파생이 만드는 형태를 하나하나 예시와 함께 정확히 따져요.",[1805],{"id":1806,"sentenceTemplate":1807,"displayOrder":1245,"explanation":1808,"exampleSentence":1809,"blanks":1810},"01a07864-1a4f-7332-9c4a-fa2734ba1bb0","기름이 익으며 내는 실제 소리를 중심으로 ‘지글지글’을 기록했다면, 이 흉내말의 주된 범주는 __1__이다.","문맥이 기름의 모양보다 실제로 나는 소리를 중심에 두므로 여기서 ‘지글지글’은 의성어로 기능합니다.","‘찰칵’은 카메라 셔터 소리를 재현하므로 의성어로 쓰였습니다.",[1811],{"id":1812,"blankNumber":11,"options":1813},"01a07864-1a4f-72de-9c4a-fa2733e340a3",[1814,1816,1818],{"id":1815,"optionText":1257,"isCorrect":1265,"displayOrder":1245},"01a07864-1a4f-724a-9c4a-fa2731ce721f",{"id":1817,"optionText":1271,"isCorrect":1244,"displayOrder":11},"01a07864-1a4f-728a-9c4a-fa2732c2c5c5",{"id":1819,"optionText":1820,"isCorrect":1244,"displayOrder":16},"01a07864-1a4f-72b6-9c4a-fa2733403c92","경계 사례",{"html":1822,"toc":1823},"\u003Cp>한국어의 의성어·의태어는 장면을 꾸미는 부사에 머물지 않는다. 반복과 음운 교체로 감각의 크기와 지속성을 조절하고, \u003Cstrong>-하다·-이다·-거리다·-대다\u003C\u002Fstrong>와 결합해 활용하는 용언이 된다. 어떤 형식을 고르느냐에 따라 한 번의 충격, 반복되는 움직임, 화자의 정서적 거리까지 달라진다.\u003C\u002Fp>\n\u003Cp>이 글을 마치면 다음을 할 수 있다.\u003C\u002Fp>\n\u003Cul>\n\u003Cli>의성어와 의태어의 중심 기능과 경계 사례를 설명한다.\u003C\u002Fli>\n\u003Cli>반복·첨가·자음 및 모음 교체가 만드는 형태·의미 효과를 분석한다.\u003C\u002Fli>\n\u003Cli>흉내말 어근에 접미사를 붙여 만든 용언을 정확히 활용한다.\u003C\u002Fli>\n\u003Cli>생산적인 새 표현과 부자연스러운 기계적 조합을 구별한다.\u003C\u002Fli>\n\u003C\u002Ful>\n\u003Ch2 id=\"section\">\u003Cspan class=\"section-number\" aria-hidden=\"true\">1.\u003C\u002Fspan>소리와 모양을 언어로 범주화하기\u003C\u002Fh2>\n\u003Cp>\u003Cem>의성어\u003C\u002Fem>는 실제 소리를 흉내 내고, \u003Cem>의태어\u003C\u002Fem>는 소리가 없는 움직임·상태·감각을 언어적으로 묘사한다.\u003C\u002Fp>\n\u003Ctable>\n\u003Cthead>\n\u003Ctr>\n\u003Cth>유형\u003C\u002Fth>\n\u003Cth>중심 대상\u003C\u002Fth>\n\u003Cth>예\u003C\u002Fth>\n\u003Cth>결합 예\u003C\u002Fth>\n\u003C\u002Ftr>\n\u003C\u002Fthead>\n\u003Ctbody>\u003Ctr>\n\u003Ctd>의성어\u003C\u002Ftd>\n\u003Ctd>충돌음, 울음소리, 마찰음 등\u003C\u002Ftd>\n\u003Ctd>쾅, 짹짹, 보글보글\u003C\u002Ftd>\n\u003Ctd>문이 \u003Cstrong>쾅\u003C\u002Fstrong> 닫혔다.\u003C\u002Ftd>\n\u003C\u002Ftr>\n\u003Ctr>\n\u003Ctd>의태어\u003C\u002Ftd>\n\u003Ctd>빛, 움직임, 태도, 촉감 등\u003C\u002Ftd>\n\u003Ctd>반짝, 살금살금, 꾸벅꾸벅\u003C\u002Ftd>\n\u003Ctd>별이 \u003Cstrong>반짝\u003C\u002Fstrong> 빛났다.\u003C\u002Ftd>\n\u003C\u002Ftr>\n\u003Ctr>\n\u003Ctd>경계 사례\u003C\u002Ftd>\n\u003Ctd>소리와 움직임이 함께 지각됨\u003C\u002Ftd>\n\u003Ctd>덜컹덜컹, 철썩철썩\u003C\u002Ftd>\n\u003Ctd>차가 \u003Cstrong>덜컹덜컹\u003C\u002Fstrong> 움직였다.\u003C\u002Ftd>\n\u003C\u002Ftr>\n\u003C\u002Ftbody>\u003C\u002Ftable>\n\u003Cp>분류가 항상 절대적인 것은 아니다. \u003Cstrong>덜컹\u003C\u002Fstrong>은 소리를 가리키면서 그 소리를 내는 흔들림도 떠올리게 한다. 실제 문장에서 무엇을 묘사하는지가 중요하다.\u003C\u002Fp>\n\u003Cdiv class=\"grammar-callout grammar-callout--note\">\u003Cp>‘흉내말’은 의성어와 의태어를 함께 가리키는 편리한 말이다. 이 글에서는 형태 형성 전체를 설명할 때 흉내말이라는 용어도 사용한다.\u003C\u002Fp>\n\u003C\u002Fdiv>\n\u003Ch2 id=\"section-2\">\u003Cspan class=\"section-number\" aria-hidden=\"true\">2.\u003C\u002Fspan>반복은 지속성과 장면을 만든다\u003C\u002Fh2>\n\u003Cp>흉내말은 단순한 접사 파생 외에도 반복·첨가·교체를 통해 새 형태를 만든다.\u003C\u002Fp>\n\u003Ctable>\n\u003Cthead>\n\u003Ctr>\n\u003Cth>형성 방식\u003C\u002Fth>\n\u003Cth>예\u003C\u002Fth>\n\u003Cth>흔한 효과\u003C\u002Fth>\n\u003C\u002Ftr>\n\u003C\u002Fthead>\n\u003Ctbody>\u003Ctr>\n\u003Ctd>단일형\u003C\u002Ftd>\n\u003Ctd>반짝, 쾅, 꾸벅\u003C\u002Ftd>\n\u003Ctd>한 번의 사건이나 순간적 인상\u003C\u002Ftd>\n\u003C\u002Ftr>\n\u003Ctr>\n\u003Ctd>완전 반복\u003C\u002Ftd>\n\u003Ctd>반짝반짝, 쾅쾅, 꾸벅꾸벅\u003C\u002Ftd>\n\u003Ctd>반복·지속·복수의 움직임\u003C\u002Ftd>\n\u003C\u002Ftr>\n\u003Ctr>\n\u003Ctd>교체 반복\u003C\u002Ftd>\n\u003Ctd>울긋불긋, 엎치락뒤치락\u003C\u002Ftd>\n\u003Ctd>서로 다른 상태의 교대·다양성\u003C\u002Ftd>\n\u003C\u002Ftr>\n\u003Ctr>\n\u003Ctd>일부 첨가·확장\u003C\u002Ftd>\n\u003Ctd>잘각 → 잘가닥\u003C\u002Ftd>\n\u003Ctd>소리의 길이·과정·질감이 더 구체화됨\u003C\u002Ftd>\n\u003C\u002Ftr>\n\u003C\u002Ftbody>\u003C\u002Ftable>\n\u003Cp>“별이 \u003Cstrong>반짝\u003C\u002Fstrong> 빛났다”는 순간의 빛을 포착하고, “별이 \u003Cstrong>반짝반짝\u003C\u002Fstrong> 빛났다”는 반복되거나 이어지는 반짝임을 장면화한다. 그러나 반복형이 언제나 단일형의 복수만 뜻하는 것은 아니다. 반복되며 하나의 상태나 성질을 나타내는 어휘로 굳어질 수도 있다.\u003C\u002Fp>\n\u003Cdiv class=\"grammar-callout grammar-callout--example\">\u003Cul>\n\u003Cli>아이가 한 번 \u003Cstrong>꾸벅\u003C\u002Fstrong> 인사했다. — 한 차례의 동작\u003C\u002Fli>\n\u003Cli>아이가 계속 \u003Cstrong>꾸벅꾸벅\u003C\u002Fstrong> 졸았다. — 반복되는 머리 움직임\u003C\u002Fli>\n\u003Cli>창문이 바람에 \u003Cstrong>덜컹\u003C\u002Fstrong> 흔들렸다. — 한 번의 충격이 두드러짐\u003C\u002Fli>\n\u003Cli>창문이 밤새 \u003Cstrong>덜컹덜컹\u003C\u002Fstrong> 흔들렸다. — 지속·반복되는 사건\u003C\u002Fli>\n\u003C\u002Ful>\n\u003C\u002Fdiv>\n\u003Ch2 id=\"section-3\">\u003Cspan class=\"section-number\" aria-hidden=\"true\">3.\u003C\u002Fspan>음운 교체와 음상의 관계\u003C\u002Fh2>\n\u003Cp>한국어 흉내말에서는 모음이나 자음이 바뀌면서 감각적 인상도 달라지는 계열이 발달해 있다.\u003C\u002Fp>\n\u003Cul>\n\u003Cli>\u003Cstrong>반짝-번쩍\u003C\u002Fstrong>: 빛의 크기·강도·갑작스러움에 관한 인상이 달라진다.\u003C\u002Fli>\n\u003Cli>\u003Cstrong>보글보글-부글부글\u003C\u002Fstrong>: 끓는 움직임의 규모와 격렬함이 달라진다.\u003C\u002Fli>\n\u003Cli>\u003Cstrong>반들반들-번들번들\u003C\u002Fstrong>: 표면의 빛남을 나타내지만 질감과 평가가 달라진다.\u003C\u002Fli>\n\u003Cli>여린소리·된소리·거센소리의 교체는 충격의 세기나 날카로움과 관련된 계열을 만들 수 있다.\u003C\u002Fli>\n\u003C\u002Ful>\n\u003Cp>이러한 관계를 \u003Cem>음상\u003C\u002Fem> 또는 \u003Cem>음성 상징\u003C\u002Fem>으로 설명할 수 있다. 흔히 양성 모음 계열은 작고 밝은 인상, 음성 모음 계열은 크고 어두운 인상과 연결되지만, 모든 단어에 기계적으로 적용되는 규칙은 아니다. 실제 단어의 뜻과 관습적 평가가 이미 분화되어 있을 수 있다.\u003C\u002Fp>\n\u003Cdiv class=\"grammar-callout grammar-callout--warning\">\u003Cp>모음만 바꾸어 ‘작은말·큰말’을 자유롭게 만들 수 있다고 생각하지 말라. 사전에 없는 형태라도 실제 쓰임이 있으면 창조적으로 사용할 수 있지만, 독자가 같은 음상을 공유하는지는 별도로 확인해야 한다.\u003C\u002Fp>\n\u003C\u002Fdiv>\n\u003Ch2 id=\"section-4\">\u003Cspan class=\"section-number\" aria-hidden=\"true\">4.\u003C\u002Fspan>흉내말 어근에서 용언 만들기\u003C\u002Fh2>\n\u003Cp>의성어·의태어 어근은 여러 접미사와 결합해 동사나 형용사 기능을 하는 용언이 된다.\u003C\u002Fp>\n\u003Ctable>\n\u003Cthead>\n\u003Ctr>\n\u003Cth>형식\u003C\u002Fth>\n\u003Cth>예\u003C\u002Fth>\n\u003Cth>전형적인 관점\u003C\u002Fth>\n\u003C\u002Ftr>\n\u003C\u002Fthead>\n\u003Ctbody>\u003Ctr>\n\u003Ctd>어근+\u003Cstrong>-하다\u003C\u002Fstrong>\u003C\u002Ftd>\n\u003Ctd>반짝하다, 덜컹덜컹하다, 소곤소곤하다\u003C\u002Ftd>\n\u003Ctd>그런 소리를 내거나 모양·상태를 보임\u003C\u002Ftd>\n\u003C\u002Ftr>\n\u003Ctr>\n\u003Ctd>어근+\u003Cstrong>-이다\u003C\u002Fstrong>\u003C\u002Ftd>\n\u003Ctd>반짝이다, 꾸벅이다, 끄덕이다\u003C\u002Ftd>\n\u003Ctd>단위 동작이나 반복 가능한 움직임을 서술함\u003C\u002Ftd>\n\u003C\u002Ftr>\n\u003Ctr>\n\u003Ctd>어근+\u003Cstrong>-거리다\u003C\u002Fstrong>\u003C\u002Ftd>\n\u003Ctd>반짝거리다, 덜컹거리다, 출렁거리다\u003C\u002Ftd>\n\u003Ctd>움직임·소리가 거듭되거나 이어짐\u003C\u002Ftd>\n\u003C\u002Ftr>\n\u003Ctr>\n\u003Ctd>어근+\u003Cstrong>-대다\u003C\u002Fstrong>\u003C\u002Ftd>\n\u003Ctd>반짝대다, 덜컹대다, 꿈틀대다\u003C\u002Ftd>\n\u003Ctd>반복성을 생생하고 구어적으로 드러내는 경향\u003C\u002Ftd>\n\u003C\u002Ftr>\n\u003C\u002Ftbody>\u003C\u002Ftable>\n\u003Cp>하나의 어근이 여러 접미사와 결합해도 완전히 같은 뜻이 되지는 않는다.\u003C\u002Fp>\n\u003Cdiv class=\"grammar-callout grammar-callout--example\">\u003Cul>\n\u003Cli>멀리서 불빛이 한 번 \u003Cstrong>반짝했다\u003C\u002Fstrong>. — 짧은 한 차례의 빛\u003C\u002Fli>\n\u003Cli>수면 위에서 별빛이 \u003Cstrong>반짝였다\u003C\u002Fstrong>. — 반짝임이 사건으로 서술됨\u003C\u002Fli>\n\u003Cli>간판 불빛이 계속 \u003Cstrong>반짝거렸다\u003C\u002Fstrong>. — 반복·지속이 두드러짐\u003C\u002Fli>\n\u003Cli>장식 조명이 밤새 \u003Cstrong>반짝댔다\u003C\u002Fstrong>. — 반복을 생생한 말투로 제시함\u003C\u002Fli>\n\u003C\u002Ful>\n\u003Cp>접미사의 차이는 반복성뿐 아니라 문체와 화자의 태도에도 영향을 준다. 다만 실제 차이는 어근과 문맥에 따라 달라지므로 이 네 형식을 모든 흉내말에 일률적으로 붙일 수는 없다.\u003C\u002Fp>\n\u003C\u002Fdiv>\n\u003Ch2 id=\"section-5\">\u003Cspan class=\"section-number\" aria-hidden=\"true\">5.\u003C\u002Fspan>파생된 용언은 정상적으로 활용한다\u003C\u002Fh2>\n\u003Cp>접미사가 붙어 용언이 되면 시제·관형형·연결형·높임 표현이 마지막 어간에 결합한다.\u003C\u002Fp>\n\u003Ctable>\n\u003Cthead>\n\u003Ctr>\n\u003Cth>기본형\u003C\u002Fth>\n\u003Cth>해체 현재\u003C\u002Fth>\n\u003Cth>과거\u003C\u002Fth>\n\u003Cth>관형형\u003C\u002Fth>\n\u003Cth>연결형\u003C\u002Fth>\n\u003C\u002Ftr>\n\u003C\u002Fthead>\n\u003Ctbody>\u003Ctr>\n\u003Ctd>반짝이다\u003C\u002Ftd>\n\u003Ctd>반짝여\u003C\u002Ftd>\n\u003Ctd>반짝였다\u003C\u002Ftd>\n\u003Ctd>반짝이는\u003C\u002Ftd>\n\u003Ctd>반짝이면서\u003C\u002Ftd>\n\u003C\u002Ftr>\n\u003Ctr>\n\u003Ctd>덜컹거리다\u003C\u002Ftd>\n\u003Ctd>덜컹거려\u003C\u002Ftd>\n\u003Ctd>덜컹거렸다\u003C\u002Ftd>\n\u003Ctd>덜컹거리는\u003C\u002Ftd>\n\u003Ctd>덜컹거리니\u003C\u002Ftd>\n\u003C\u002Ftr>\n\u003Ctr>\n\u003Ctd>꿈틀대다\u003C\u002Ftd>\n\u003Ctd>꿈틀대\u003C\u002Ftd>\n\u003Ctd>꿈틀댔다\u003C\u002Ftd>\n\u003Ctd>꿈틀대는\u003C\u002Ftd>\n\u003Ctd>꿈틀대면서\u003C\u002Ftd>\n\u003C\u002Ftr>\n\u003Ctr>\n\u003Ctd>소곤소곤하다\u003C\u002Ftd>\n\u003Ctd>소곤소곤해\u003C\u002Ftd>\n\u003Ctd>소곤소곤했다\u003C\u002Ftd>\n\u003Ctd>소곤소곤하는\u003C\u002Ftd>\n\u003Ctd>소곤소곤하며\u003C\u002Ftd>\n\u003C\u002Ftr>\n\u003C\u002Ftbody>\u003C\u002Ftable>\n\u003Cp>\u003Cstrong>반짝이다\u003C\u002Fstrong>는 ‘반짝+이다’의 구조를 바탕으로 \u003Cstrong>반짝여, 반짝이는\u003C\u002Fstrong>처럼 활용한다. 여기의 \u003Cstrong>-이다\u003C\u002Fstrong>를 서술격 조사 \u003Cem>이다\u003C\u002Fem>와 혼동하면 안 된다. 흉내말 어근에 붙어 용언을 만드는 요소다.\u003C\u002Fp>\n\u003Cp>맞춤법에서는 \u003Cstrong>-거리다\u003C\u002Fstrong>가 붙을 수 있는 시늉말 어근에 \u003Cstrong>-이다\u003C\u002Fstrong>가 붙어 된 용언의 어근을 밝혀 적는다. 그래서 \u003Cstrong>반짝이다, 꾸벅이다, 끄덕이다\u003C\u002Fstrong>처럼 쓰며 발음만 따라 \u003Cem>반짜기다, 꾸버기다, 끄더기다\u003C\u002Fem>로 적지 않는다.\u003C\u002Fp>\n\u003Cdiv class=\"grammar-callout grammar-callout--tip\">\u003Cp>활용이 헷갈리면 파생 접미사를 포함한 기본형을 먼저 찾은 뒤 일반 용언처럼 어미를 붙여라. ‘반짝+였-’이 아니라 \u003Cstrong>반짝이-+었- → 반짝였다\u003C\u002Fstrong>로 분석하면 형태가 선명해진다.\u003C\u002Fp>\n\u003C\u002Fdiv>\n\u003Ch2 id=\"section-6\">\u003Cspan class=\"section-number\" aria-hidden=\"true\">6.\u003C\u002Fspan>문장 속 위치가 장면의 초점을 바꾼다\u003C\u002Fh2>\n\u003Cp>같은 흉내말도 부사, 인용된 소리, 파생 용언 가운데 무엇으로 쓰느냐에 따라 초점이 달라진다.\u003C\u002Fp>\n\u003Ctable>\n\u003Cthead>\n\u003Ctr>\n\u003Cth>구성\u003C\u002Fth>\n\u003Cth>예\u003C\u002Fth>\n\u003Cth>초점\u003C\u002Fth>\n\u003C\u002Ftr>\n\u003C\u002Fthead>\n\u003Ctbody>\u003Ctr>\n\u003Ctd>부사어\u003C\u002Ftd>\n\u003Ctd>빗방울이 \u003Cstrong>후드득\u003C\u002Fstrong> 떨어졌다.\u003C\u002Ftd>\n\u003Ctd>떨어지는 방식과 소리\u003C\u002Ftd>\n\u003C\u002Ftr>\n\u003Ctr>\n\u003Ctd>소리 인용\u003C\u002Ftd>\n\u003Ctd>문이 \u003Cstrong>‘쾅’ 하고\u003C\u002Fstrong> 닫혔다.\u003C\u002Ftd>\n\u003Ctd>하나의 소리 사건\u003C\u002Ftd>\n\u003C\u002Ftr>\n\u003Ctr>\n\u003Ctd>관형 구성\u003C\u002Ftd>\n\u003Ctd>복도에서 \u003Cstrong>쿵 하는 소리\u003C\u002Fstrong>가 났다.\u003C\u002Ftd>\n\u003Ctd>소리의 정체를 명사화함\u003C\u002Ftd>\n\u003C\u002Ftr>\n\u003Ctr>\n\u003Ctd>파생 용언\u003C\u002Ftd>\n\u003Ctd>낡은 창문이 \u003Cstrong>덜컹거렸다\u003C\u002Fstrong>.\u003C\u002Ftd>\n\u003Ctd>창문의 지속적 움직임·소리\u003C\u002Ftd>\n\u003C\u002Ftr>\n\u003Ctr>\n\u003Ctd>반복 부사+용언\u003C\u002Ftd>\n\u003Ctd>창문이 \u003Cstrong>덜컹덜컹 흔들렸다\u003C\u002Fstrong>.\u003C\u002Ftd>\n\u003Ctd>장면을 감각적으로 펼침\u003C\u002Ftd>\n\u003C\u002Ftr>\n\u003C\u002Ftbody>\u003C\u002Ftable>\n\u003Cp>\u003Cstrong>쾅 닫혔다\u003C\u002Fstrong>와 \u003Cstrong>쾅 하고 닫혔다\u003C\u002Fstrong>는 모두 가능하지만, \u003Cstrong>하고\u003C\u002Fstrong>는 소리 자체를 하나의 인용 단위처럼 분리한다. 만화·대화에서는 소리를 독립적으로 제시하기 쉽고, 분석적 산문에서는 행위와 원인을 명시하는 편이 자연스러울 수 있다.\u003C\u002Fp>\n\u003Ch3 id=\"section-7\">\u003Cspan class=\"section-number\" aria-hidden=\"true\">6.1\u003C\u002Fspan>주체와 지각자의 관점\u003C\u002Fh3>\n\u003Cp>“아이가 살금살금 걸었다”는 움직임의 방식을 묘사하고, “아이가 살금거렸다”는 일반적으로 자연스럽지 않다. 생산적인 접미사라도 모든 어근과 결합하지 않는다는 증거다. 반면 “물이 출렁거렸다”는 움직이는 대상이 주어가 되어 자연스럽다. 파생형을 만들 때는 어떤 대상이 그 소리나 모양을 실제로 나타내는지 확인해야 한다.\u003C\u002Fp>\n\u003Ch2 id=\"section-8\">\u003Cspan class=\"section-number\" aria-hidden=\"true\">7.\u003C\u002Fspan>파생형의 상과 문체를 고르기\u003C\u002Fh2>\n\u003Ctable>\n\u003Cthead>\n\u003Ctr>\n\u003Cth>말하려는 장면\u003C\u002Fth>\n\u003Cth>어울리는 선택\u003C\u002Fth>\n\u003Cth>이유\u003C\u002Fth>\n\u003C\u002Ftr>\n\u003C\u002Fthead>\n\u003Ctbody>\u003Ctr>\n\u003Ctd>한 번의 갑작스러운 충격\u003C\u002Ftd>\n\u003Ctd>\u003Cstrong>덜컹\u003C\u002Fstrong>, 덜컹하다\u003C\u002Ftd>\n\u003Ctd>사건 경계가 선명함\u003C\u002Ftd>\n\u003C\u002Ftr>\n\u003Ctr>\n\u003Ctd>계속되는 기계 소리\u003C\u002Ftd>\n\u003Ctd>\u003Cstrong>덜컹거리다\u003C\u002Fstrong>\u003C\u002Ftd>\n\u003Ctd>반복·지속을 서술어에 포함함\u003C\u002Ftd>\n\u003C\u002Ftr>\n\u003Ctr>\n\u003Ctd>화자의 생생한 체감\u003C\u002Ftd>\n\u003Ctd>\u003Cstrong>덜컹대다\u003C\u002Fstrong>\u003C\u002Ftd>\n\u003Ctd>구어적이고 역동적인 인상이 강함\u003C\u002Ftd>\n\u003C\u002Ftr>\n\u003Ctr>\n\u003Ctd>반복 장면을 시각화\u003C\u002Ftd>\n\u003Ctd>\u003Cstrong>덜컹덜컹 흔들리다\u003C\u002Fstrong>\u003C\u002Ftd>\n\u003Ctd>부사 반복으로 리듬을 만듦\u003C\u002Ftd>\n\u003C\u002Ftr>\n\u003Ctr>\n\u003Ctd>중립적 사실 보고\u003C\u002Ftd>\n\u003Ctd>흔들리다, 진동하다\u003C\u002Ftd>\n\u003Ctd>감각적 평가를 줄임\u003C\u002Ftd>\n\u003C\u002Ftr>\n\u003C\u002Ftbody>\u003C\u002Ftable>\n\u003Cp>흉내말은 화자의 지각을 전면에 내세우기 때문에 과학·행정 문서에서는 측정 가능한 표현으로 바꾸어야 할 때가 있다. “기계가 덜컹거렸다”는 현장 기록에는 유용하지만, 점검 보고서에는 “작동 중 3초 간격의 충격음과 좌우 진동이 발생했다”가 더 검증 가능하다.\u003C\u002Fp>\n\u003Cdiv class=\"grammar-callout grammar-callout--danger\">\u003Cp>감각이 강한 단어를 여러 개 겹치면 장면이 선명해지는 것이 아니라 서로 경쟁할 수 있다. 한 문장에서 핵심 감각이 소리인지 움직임인지 먼저 정하라.\u003C\u002Fp>\n\u003C\u002Fdiv>\n\u003Ch2 id=\"section-9\">\u003Cspan class=\"section-number\" aria-hidden=\"true\">8.\u003C\u002Fspan>새 흉내말과 파생형을 점검하기\u003C\u002Fh2>\n\u003Cp>의성어·의태어는 새로 만들어 쓸 수 있는 생산적인 영역이다. 사전에 없다는 이유만으로 곧 틀린 표현이 되는 것은 아니지만, 생산성에는 독자의 해석 가능성이라는 조건이 따른다.\u003C\u002Fp>\n\u003Col>\n\u003Cli>묘사할 감각을 소리·빛·움직임·촉감 중에서 구체화한다.\u003C\u002Fli>\n\u003Cli>단일 사건인지 반복·지속 사건인지 결정한다.\u003C\u002Fli>\n\u003Cli>기존 자음·모음 계열이 주는 음상을 참고하되 기계적으로 복제하지 않는다.\u003C\u002Fli>\n\u003Cli>부사로 둘지, \u003Cstrong>-하다\u002F-이다\u002F-거리다\u002F-대다\u003C\u002Fstrong> 파생 용언으로 만들지 고른다.\u003C\u002Fli>\n\u003Cli>해당 어근과 접미사의 결합이 실제 화자에게 자연스러운지 용례를 확인한다.\u003C\u002Fli>\n\u003Cli>파생 용언의 기본형을 기준으로 활용과 맞춤법을 점검한다.\u003C\u002Fli>\n\u003Cli>장르의 격식성과 화자의 평가가 의도에 맞는지 본다.\u003C\u002Fli>\n\u003Cli>감각 표현을 덜어 내도 사건의 주체와 원인이 명확한지 확인한다.\u003C\u002Fli>\n\u003C\u002Fol>\n\u003Ctable>\n\u003Cthead>\n\u003Ctr>\n\u003Cth>확인 항목\u003C\u002Fth>\n\u003Cth>핵심 질문\u003C\u002Fth>\n\u003C\u002Ftr>\n\u003C\u002Fthead>\n\u003Ctbody>\u003Ctr>\n\u003Ctd>형태\u003C\u002Ftd>\n\u003Ctd>반복·교체·접미사 결합이 한국어의 실제 형성 방식과 맞는가?\u003C\u002Ftd>\n\u003C\u002Ftr>\n\u003Ctr>\n\u003Ctd>의미\u003C\u002Ftd>\n\u003Ctd>소리의 세기, 움직임의 크기, 반복성이 장면과 맞는가?\u003C\u002Ftd>\n\u003C\u002Ftr>\n\u003Ctr>\n\u003Ctd>통사\u003C\u002Ftd>\n\u003Ctd>흉내말이 수식하는 용언이나 파생형의 주어가 자연스러운가?\u003C\u002Ftd>\n\u003C\u002Ftr>\n\u003Ctr>\n\u003Ctd>활용\u003C\u002Ftd>\n\u003Ctd>접미사를 포함한 어간 뒤에 어미를 정확히 붙였는가?\u003C\u002Ftd>\n\u003C\u002Ftr>\n\u003Ctr>\n\u003Ctd>문체\u003C\u002Ftd>\n\u003Ctd>생생함이 필요한가, 측정 가능한 중립어가 필요한가?\u003C\u002Ftd>\n\u003C\u002Ftr>\n\u003C\u002Ftbody>\u003C\u002Ftable>\n\u003Cp>의성어·의태어의 힘은 낯선 소리를 적는 데만 있지 않다. \u003Cstrong>형태를 바꾸어 사건의 횟수·지속성·관점을 문법적으로 조절하는 능력\u003C\u002Fstrong>에 있다.\u003C\u002Fp>\n",[1824,1828,1832,1836,1840,1844,1848,1852,1856],{"id":1825,"text":1826,"depth":16,"number":1827},"section","소리와 모양을 언어로 범주화하기","1",{"id":1829,"text":1830,"depth":16,"number":1831},"section-2","반복은 지속성과 장면을 만든다","2",{"id":1833,"text":1834,"depth":16,"number":1835},"section-3","음운 교체와 음상의 관계","3",{"id":1837,"text":1838,"depth":16,"number":1839},"section-4","흉내말 어근에서 용언 만들기","4",{"id":1841,"text":1842,"depth":16,"number":1843},"section-5","파생된 용언은 정상적으로 활용한다","5",{"id":1845,"text":1846,"depth":16,"number":1847},"section-6","문장 속 위치가 장면의 초점을 바꾼다","6",{"id":1849,"text":1850,"depth":21,"number":1851},"section-7","주체와 지각자의 관점","6.1",{"id":1853,"text":1854,"depth":16,"number":1855},"section-8","파생형의 상과 문체를 고르기","7",{"id":1857,"text":1858,"depth":16,"number":1859},"section-9","새 흉내말과 파생형을 점검하기","8"]