신뢰성 해석 및 신뢰성기반 최적설계는 불확실성을 고려한 확률변수를 입력 값으로 요구하며, 확률변수는 모수적․비모수 적 통계모델링 방법을 사용하여 확률분포함수의 형태로 정량화 된다. 신뢰성 해석과 같은 통계적 해석은 입력되는 확률분포 함수의 특성이 결과값에 영향을 미치게 되며, 확률분포함수는 통계모델링 방법에 따라 다른 형태를 가지게 된다. 본 연구에 서는 모수적 통계모델링 방법인 순차적 통계모델링 방법과 비모수적 방법인 커널밀도추정을 사용하여 데이터의 개수에 따 른 통계모델링의 결과를 분석하였다. 또한 수치예제를 통해 두 가지 기법에 따른 신뢰성 해석의 결과를 분석하였고, 데이터 의 개수에 따른 적절한 기법을 제안하였다.

Building on the readings of Yeats’s esoteric poems and A Vision, I pose to rethink the dimensions of his occultism, more specifically his reflection on an encounter with the supernatural beings. The need for rearticulation of the role of relation to the other gains urgency because the supernatural beings are by nature obscure, indistinct, and indefinite. They resist too much clarification and determination that may reduce their complicated and irreducible beings to distinct concepts. The difficulty, therefore, lies in the question of how Yeats could present the beings in a manner as precise, proper, and rigorous as possible and at the same time he could respect and honor the mode in which the beings conceals themselves in the mystery, by letting them be the mystery that they are. Applying the concept of “ecstasy” and “epiphany” to Yeats’s three poems, my paper investigates how each poem reflects and illustrates the nature and the structuality of “ecstasy” and “epiphany.” In “The Double Vision of Michael Robartes” the girl dancing between a Sphinx and a Buddha in the fifteenth night is the anti-self of Yeats. In a moment the girl, the Sphinx, the Buddha and the poet himself had overthrown time in contemplation. They remain motionless in the contemplation of their real nature. when Robartes meets the girl, he can be a totally subjective mind, overcome the illusion of duality, and find a “revelation of realty.” They finally all integrated into one and accomplish the ultimate reality as a phaseless sphere. This poem Robartes shows how ecstasy or epiphany in an encounter with the supernatural being not only arises from the contemplation of things vaster than the individual and imperfectly seen but also escapes from the barrenness and shallowness of a too conscious arrangement. In the second section of “Vacillation,” Yeats presents a ritual ceremony in which “Attis’ image” is hung between the two parts, uniting death with eternal life, assuring immortality. He who performs this rite “May know not what he knows but knows not grief.” Yeats in his poetry consistently and repeatedly alludes to an ancient sacrificial ritual and the imitations of ritual techniques through words and rhythms. For him, the ritual enacts an inner vision of permanent beauty and harmony and enables us to participate in the transcendental experience of a rite. Yeats often clearly sees and evokes the effects of sacrifice to ensure symbolize the transcendental vision of whole beyond ordinary experience or expression. Yeats showed Unity of Being in “Byzantium.” He attains the Ultimate Reality completely, in which subject and object are unified in the space without the time. He achieves the ultimate reality as an eternal instant. This ultimate reality is Yeats’s Unity of Being.