Statistics for Business and Economics 11th Edition Anderson Test Bank

Statistics for Business and Economics

11th Edition Anderson Test Bank
Visit to get the accurate and complete content:

https://testbankfan.com/download/statistics-for-business-and-economics-11th-edition-
anderson-test-bank/

Visit TestBankFan.com to get complete for all chapters

Statistics for Business and Economics 11th Edition Anderson Test Bank

CHAPTER 2—DESCRIPTIVE STATISTICS: TABULAR AND GRAPHICAL

PRESENTATIONS

MULTIPLE CHOICE

1. A frequency distribution is a tabular summary of data showing the

a. fraction of items in several classes
b. percentage of items in several classes
c. relative percentage of items in several classes
d. number of items in several classes
ANS: D PTS: 1 TOP: Descriptive Statistics

2. A frequency distribution is
a. a tabular summary of a set of data showing the relative frequency
b. a graphical form of representing data
c. a tabular summary of a set of data showing the frequency of items in each of several
nonoverlapping classes
d. a graphical device for presenting categorical data
ANS: C PTS: 1 TOP: Descriptive Statistics

3. A tabular summary of a set of data showing the fraction of the total number of items in several classes
is a
a. frequency distribution
b. relative frequency distribution
c. frequency
d. cumulative frequency distribution
ANS: B PTS: 1 TOP: Descriptive Statistics

4. The relative frequency of a class is computed by

a. dividing the midpoint of the class by the sample size
b. dividing the frequency of the class by the midpoint
c. dividing the sample size by the frequency of the class
d. dividing the frequency of the class by the sample size
ANS: D PTS: 1 TOP: Descriptive Statistics

5. The percent frequency of a class is computed by

a. multiplying the relative frequency by 10
b. dividing the relative frequency by 100
c. multiplying the relative frequency by 100
d. adding 100 to the relative frequency
ANS: C PTS: 1 TOP: Descriptive Statistics

6. The sum of frequencies for all classes will always equal

a. 1
b. the number of elements in a data set
c. the number of classes
d. a value between 0 and 1
ANS: B PTS: 1 TOP: Descriptive Statistics

Visit TestBankFan.com to get complete for all chapters

 7. Fifteen percent of the students in a school of Business Administration are majoring in Economics, 20%
in Finance, 35% in Management, and 30% in Accounting. The graphical device(s) which can be used
to present these data is (are)
a. a line chart
b. only a bar chart
c. only a pie chart
d. both a bar chart and a pie chart
ANS: D PTS: 1 TOP: Descriptive Statistics

8. A researcher is gathering data from four geographical areas designated: South = 1; North = 2; East = 3;
West = 4. The designated geographical regions represent
a. categorical data
b. quantitative data
c. label data
d. either quantitative or categorical data
ANS: A PTS: 1 TOP: Descriptive Statistics

9. Categorical data can be graphically represented by using a(n)

a. histogram
b. frequency polygon
c. ogive
d. bar chart
ANS: D PTS: 1 TOP: Descriptive Statistics

10. A cumulative relative frequency distribution shows

a. the proportion of data items with values less than or equal to the upper limit of each class
b. the proportion of data items with values less than or equal to the lower limit of each class
c. the percentage of data items with values less than or equal to the upper limit of each class
d. the percentage of data items with values less than or equal to the lower limit of each class
ANS: A PTS: 1 TOP: Descriptive Statistics

11. If several frequency distributions are constructed from the same data set, the distribution with the
widest class width will have the
a. fewest classes
b. most classes
c. same number of classes as the other distributions since all are constructed from the same
data
ANS: A PTS: 1 TOP: Descriptive Statistics

12. The sum of the relative frequencies for all classes will always equal
a. the sample size
b. the number of classes
c. one
d. any value larger than one
ANS: C PTS: 1 TOP: Descriptive Statistics

13. The sum of the percent frequencies for all classes will always equal
a. one
b. the number of classes
 c. the number of items in the study
d. 100
ANS: D PTS: 1 TOP: Descriptive Statistics

14. The most common graphical presentation of quantitative data is a

a. histogram
b. bar chart
c. relative frequency
d. pie chart
ANS: A PTS: 1 TOP: Descriptive Statistics

15. The total number of data items with a value less than the upper limit for the class is given by the
a. frequency distribution
b. relative frequency distribution
c. cumulative frequency distribution
d. cumulative relative frequency distribution
ANS: C PTS: 1 TOP: Descriptive Statistics

16. The relative frequency of a class is computed by

a. dividing the cumulative frequency of the class by n
b. dividing n by cumulative frequency of the class
c. dividing the frequency of the class by n
d. dividing the frequency of the class by the number of classes
ANS: C PTS: 1 TOP: Descriptive Statistics

17. In constructing a frequency distribution, the approximate class width is computed as

a. (largest data value - smallest data value)/number of classes
b. (largest data value - smallest data value)/sample size
c. (smallest data value - largest data value)/sample size
d. largest data value/number of classes
ANS: A PTS: 1 TOP: Descriptive Statistics

18. In constructing a frequency distribution, as the number of classes are decreased, the class width
a. decreases
b. remains unchanged
c. increases
d. can increase or decrease depending on the data values
ANS: C PTS: 1 TOP: Descriptive Statistics

19. The difference between the lower class limits of adjacent classes provides the
a. number of classes
b. class limits
c. class midpoint
d. class width
ANS: D PTS: 1 TOP: Descriptive Statistics

20. In a cumulative frequency distribution, the last class will always have a cumulative frequency equal to
a. one
b. 100%
Another random document with
no related content on Scribd:
 Al darle ahora la bienvenida, llevando vuestra voz, experimento,
Sres. Académicos, una de las satisfacciones más grandes de mi
vida. Hijo de una de las ciudades más antiguas y gloriosas del viejo
Reino sevillano, la ciudad de los Guzmanes, tengo á orgullo, y es
para mí eterno vínculo de gratitud y de cariño, haber recibido mi
educación literaria é histórica en las aulas hispalenses y en el trato y
comunicación de los ingenios de Sevilla, y que el nuevo Académico
fuese de los que con mayor interés y afecto me alentasen en mis
primeras tentativas y ensayos. ¡Quién me dijera entonces que en
acto de la solemnidad del presente habría de disfrutar la grata y
honrosa participación con que vuestra bondad se ha dignado
favorecerme!
Entre los muchos é interesantes asuntos que las ricas y variadas
aptitudes y conocimientos del nuevo compañero le habrían permitido
escoger como tema de su discurso de ingreso, el docto americanista
ha preferido oportunamente el de mayor alcance y trascendencia de
todos, esto es, el examen de las últimas doctrinas y trabajos
referentes á Cristóbal Colón, examen que acabáis de coronar con
vuestros aplausos, y que ha evidenciado una vez más el acierto y
elocuencia peculiares á su entendimiento y á sus facultades
literarias. Mis enhorabuenas más cordiales por la elección y el
desempeño.
La celebración del cuarto Centenario del descubrimiento de
América dió origen, como era de esperar, dentro y fuera de la
Península, á numerosos estudios relativos á los dos grandes é
inseparables factores de aquel acontecimiento sin igual en la
historia: Colón y España. Natural era que el docto americanista
sevillano siguiese con vivo interés las nuevas publicaciones,
estudiando cuanto en ellas se dijese tocante á las mismas
cuestiones que había tratado en su Vida de Colón, á fin de
comprobar y perfeccionar sus propias investigaciones.
La Academia, que cuenta en su seno americanistas
mantenedores de distintas y encontradas opiniones sobre puntos
capitales de la historia colombina, debía oir de igual modo las del
nuevo Académico, que no son otras, en esencia, que las que ya
consignó en su obra magna, robustecidas ahora con los datos y
materiales con que el Centenario ha contribuido al esclarecimiento
de cuestiones sobrado graves y empeñadas para que nadie pueda
osar resolverlas todas y en absoluto, máxime dada la naturaleza de
los conocimientos históricos.
Por mucho tiempo la leyenda colombina y la leyenda
anticolombina han de disputar tenazmente la plaza que sólo cumple
de derecho á la verdad histórica. Panegiristas de Colón y
panegiristas de España seguirán luchando con apasionamiento,
hasta que al fin luzca el día sereno de la justicia, así para el
incomparable marino genovés como para la nación generosa que
amparó é hizo posible la hazaña más prodigiosa de la Edad
Moderna.
Mis sentimientos y mis convicciones coinciden, de antiguo y casi
por completo, en estas materias, con las del nuevo Académico, y ahí
están que lo prueban los trabajos que dí á luz en el Centenario; sin
que por eso deje de reconocer en ningún caso que ni está ni es
posible que esté cerrada la puerta á ulteriores investigaciones, en
esta, como en toda clase de controversias históricas.
Creo más, señores Académicos: creo plenamente que, á pesar de
las exageraciones, aun de las injusticias con que la pasión haya
podido tratarla, en lo antiguo y en lo moderno, la figura gigantesca
del descubridor del Nuevo Mundo ha resistido victoriosamente los
embates de la ceguedad y del encono, llegando incólume á los días
del Centenario, y, como dijo magistralmente nuestro ilustre Director,
en su discurso de apertura del Congreso de Americanistas
celebrado en el Convento de la Rábida, «en puesto único, al que
nadie puede acercarse, ni de lejos, en la Historia.»
Después de todo, por fortuna nuestra, Colón no fué considerado
nunca en los trabajos del Centenario como llegó á serlo, por el
mismo tiempo, en algunas de las publicaciones italianas, esto es,
como simple ejecutor del pensamiento de Toscanelli; ni tratado
tampoco con la crueldad incalificable con que algunos portugueses
escribieron del Infante Don Enrique en los días mismos de la
celebración de su Centenario, ni como tratan hoy otros, con motivo
del que ha de celebrarse dentro de pocos días, al glorioso
Taumaturgo de Lisboa.
Y es que las divisiones religiosas, políticas y científicas de nuestro
tiempo, y aun más, si cabe, el espíritu crítico, cuando no escéptico,
dominante, tenían que ejercer su propio y natural influjo aun en
ocasiones tan extraordinarias y solemnes. Lo verdaderamente
extraño es que se nieguen ó regateen tanto la admiración y el
aplauso á las grandes figuras de la historia, y se prodiguen con
largueza, mejor dicho, con verdadero escándalo, en ocasiones, á
entidades subalternas, como lo prueban las apoteosis pomposas
que vemos celebrar en gloria de algunas y las estatuas erigidas en
honor de otras, careciendo, como aún carecen de ellas, el Cid,
Guzmán el Bueno, el Rey Católico y tantas otras glorias
indisputables y legítimas de la patria.
¡Dichosos los que, como el nuevo Académico, han sabido
conservar siempre inextinguibles en su alma el entusiasmo y la
admiración debidas á lo verdadero y lo justo, lo grande y lo sublime!
He dicho.
 ÍNDICE
Páginas.
Prólogo v
Las Conferencias americanistas del Ateneo 1
Los Reyes Católicos en el descubrimiento de 33
América
El Cardenal Mendoza en el descubrimiento 61
de América
Colón y Fray Diego de Deza 73
El Nuevo Mundo descubierto por Colón, 87
comedia de Lope de Vega
La patria de Colón 99
Españolismo de Colón 111
La Duquesa de Alba 121
El Maestro Lebrija y el descubrimiento de 135
América
La Aurora en Copacavana 147
Pedro de Valdivia 157
Gonzalo Jiménez de Quesada en la poesía y 167
en la historia
El Alférez Doña Catalina de Erauso 179
La Historia de la Conquista de México, de 199
Solís
Los restos de Pizarro 207
Sor Juana Inés de la Cruz 221
El Centenario en Chile 231
El Centenario en Colombia 239
Los Americanos en el Ateneo 247
Colón en las publicaciones italianas del 265
Centenario
Un americanista notable 287
*** END OF THE PROJECT GUTENBERG EBOOK ESPAÑA Y
AMÉRICA ***

Updated editions will replace the previous one—the old editions

will be renamed.

Creating the works from print editions not protected by U.S.

copyright law means that no one owns a United States copyright
in these works, so the Foundation (and you!) can copy and
distribute it in the United States without permission and without
paying copyright royalties. Special rules, set forth in the General
Terms of Use part of this license, apply to copying and
distributing Project Gutenberg™ electronic works to protect the
PROJECT GUTENBERG™ concept and trademark. Project
Gutenberg is a registered trademark, and may not be used if
you charge for an eBook, except by following the terms of the
trademark license, including paying royalties for use of the
Project Gutenberg trademark. If you do not charge anything for
copies of this eBook, complying with the trademark license is
very easy. You may use this eBook for nearly any purpose such
as creation of derivative works, reports, performances and
research. Project Gutenberg eBooks may be modified and
printed and given away—you may do practically ANYTHING in
the United States with eBooks not protected by U.S. copyright
law. Redistribution is subject to the trademark license, especially
commercial redistribution.

START: FULL LICENSE

THE FULL PROJECT GUTENBERG LICENSE
 PLEASE READ THIS BEFORE YOU DISTRIBUTE OR USE THIS WORK

To protect the Project Gutenberg™ mission of promoting the

free distribution of electronic works, by using or distributing this
work (or any other work associated in any way with the phrase
“Project Gutenberg”), you agree to comply with all the terms of
the Full Project Gutenberg™ License available with this file or
online at www.gutenberg.org/license.

Section 1. General Terms of Use and

Redistributing Project Gutenberg™
electronic works
1.A. By reading or using any part of this Project Gutenberg™
electronic work, you indicate that you have read, understand,
agree to and accept all the terms of this license and intellectual
property (trademark/copyright) agreement. If you do not agree to
abide by all the terms of this agreement, you must cease using
and return or destroy all copies of Project Gutenberg™
electronic works in your possession. If you paid a fee for
obtaining a copy of or access to a Project Gutenberg™
electronic work and you do not agree to be bound by the terms
of this agreement, you may obtain a refund from the person or
entity to whom you paid the fee as set forth in paragraph 1.E.8.

1.B. “Project Gutenberg” is a registered trademark. It may only

be used on or associated in any way with an electronic work by
people who agree to be bound by the terms of this agreement.
There are a few things that you can do with most Project
Gutenberg™ electronic works even without complying with the
full terms of this agreement. See paragraph 1.C below. There
are a lot of things you can do with Project Gutenberg™
electronic works if you follow the terms of this agreement and
help preserve free future access to Project Gutenberg™
electronic works. See paragraph 1.E below.
1.C. The Project Gutenberg Literary Archive Foundation (“the
Foundation” or PGLAF), owns a compilation copyright in the
collection of Project Gutenberg™ electronic works. Nearly all the
individual works in the collection are in the public domain in the
United States. If an individual work is unprotected by copyright
law in the United States and you are located in the United
States, we do not claim a right to prevent you from copying,
distributing, performing, displaying or creating derivative works
based on the work as long as all references to Project
Gutenberg are removed. Of course, we hope that you will
support the Project Gutenberg™ mission of promoting free
access to electronic works by freely sharing Project
Gutenberg™ works in compliance with the terms of this
agreement for keeping the Project Gutenberg™ name
associated with the work. You can easily comply with the terms
of this agreement by keeping this work in the same format with
its attached full Project Gutenberg™ License when you share it
without charge with others.

1.D. The copyright laws of the place where you are located also
govern what you can do with this work. Copyright laws in most
countries are in a constant state of change. If you are outside
the United States, check the laws of your country in addition to
the terms of this agreement before downloading, copying,
displaying, performing, distributing or creating derivative works
based on this work or any other Project Gutenberg™ work. The
Foundation makes no representations concerning the copyright
status of any work in any country other than the United States.

1.E. Unless you have removed all references to Project

Gutenberg:

1.E.1. The following sentence, with active links to, or other

immediate access to, the full Project Gutenberg™ License must
appear prominently whenever any copy of a Project
Gutenberg™ work (any work on which the phrase “Project
Gutenberg” appears, or with which the phrase “Project
Gutenberg” is associated) is accessed, displayed, performed,
viewed, copied or distributed:

This eBook is for the use of anyone anywhere in the United

States and most other parts of the world at no cost and with
almost no restrictions whatsoever. You may copy it, give it
away or re-use it under the terms of the Project Gutenberg
License included with this eBook or online at
www.gutenberg.org. If you are not located in the United
States, you will have to check the laws of the country where
you are located before using this eBook.

1.E.2. If an individual Project Gutenberg™ electronic work is

derived from texts not protected by U.S. copyright law (does not
contain a notice indicating that it is posted with permission of the
copyright holder), the work can be copied and distributed to
anyone in the United States without paying any fees or charges.
If you are redistributing or providing access to a work with the
phrase “Project Gutenberg” associated with or appearing on the
work, you must comply either with the requirements of
paragraphs 1.E.1 through 1.E.7 or obtain permission for the use
of the work and the Project Gutenberg™ trademark as set forth
in paragraphs 1.E.8 or 1.E.9.

1.E.3. If an individual Project Gutenberg™ electronic work is

posted with the permission of the copyright holder, your use and
distribution must comply with both paragraphs 1.E.1 through
1.E.7 and any additional terms imposed by the copyright holder.
Additional terms will be linked to the Project Gutenberg™
License for all works posted with the permission of the copyright
holder found at the beginning of this work.

1.E.4. Do not unlink or detach or remove the full Project

Gutenberg™ License terms from this work, or any files
containing a part of this work or any other work associated with
Project Gutenberg™.
 1.E.5. Do not copy, display, perform, distribute or redistribute
this electronic work, or any part of this electronic work, without
prominently displaying the sentence set forth in paragraph 1.E.1
with active links or immediate access to the full terms of the
Project Gutenberg™ License.

1.E.6. You may convert to and distribute this work in any binary,
compressed, marked up, nonproprietary or proprietary form,
including any word processing or hypertext form. However, if
you provide access to or distribute copies of a Project
Gutenberg™ work in a format other than “Plain Vanilla ASCII” or
other format used in the official version posted on the official
Project Gutenberg™ website (www.gutenberg.org), you must, at
no additional cost, fee or expense to the user, provide a copy, a
means of exporting a copy, or a means of obtaining a copy upon
request, of the work in its original “Plain Vanilla ASCII” or other
form. Any alternate format must include the full Project
Gutenberg™ License as specified in paragraph 1.E.1.

1.E.7. Do not charge a fee for access to, viewing, displaying,

performing, copying or distributing any Project Gutenberg™
works unless you comply with paragraph 1.E.8 or 1.E.9.

1.E.8. You may charge a reasonable fee for copies of or

providing access to or distributing Project Gutenberg™
electronic works provided that:

• You pay a royalty fee of 20% of the gross profits you derive from
the use of Project Gutenberg™ works calculated using the
method you already use to calculate your applicable taxes. The
fee is owed to the owner of the Project Gutenberg™ trademark,
but he has agreed to donate royalties under this paragraph to
the Project Gutenberg Literary Archive Foundation. Royalty
payments must be paid within 60 days following each date on
which you prepare (or are legally required to prepare) your
periodic tax returns. Royalty payments should be clearly marked
as such and sent to the Project Gutenberg Literary Archive
Foundation at the address specified in Section 4, “Information
 about donations to the Project Gutenberg Literary Archive
Foundation.”

• You provide a full refund of any money paid by a user who

notifies you in writing (or by e-mail) within 30 days of receipt that
s/he does not agree to the terms of the full Project Gutenberg™
License. You must require such a user to return or destroy all
copies of the works possessed in a physical medium and
discontinue all use of and all access to other copies of Project
Gutenberg™ works.

• You provide, in accordance with paragraph 1.F.3, a full refund of

any money paid for a work or a replacement copy, if a defect in
the electronic work is discovered and reported to you within 90
days of receipt of the work.

• You comply with all other terms of this agreement for free
distribution of Project Gutenberg™ works.

1.E.9. If you wish to charge a fee or distribute a Project

Gutenberg™ electronic work or group of works on different
terms than are set forth in this agreement, you must obtain
permission in writing from the Project Gutenberg Literary
Archive Foundation, the manager of the Project Gutenberg™
trademark. Contact the Foundation as set forth in Section 3
below.

1.F.

1.F.1. Project Gutenberg volunteers and employees expend

considerable effort to identify, do copyright research on,
transcribe and proofread works not protected by U.S. copyright
law in creating the Project Gutenberg™ collection. Despite
these efforts, Project Gutenberg™ electronic works, and the
medium on which they may be stored, may contain “Defects,”
such as, but not limited to, incomplete, inaccurate or corrupt
data, transcription errors, a copyright or other intellectual
property infringement, a defective or damaged disk or other
medium, a computer virus, or computer codes that damage or
cannot be read by your equipment.

1.F.2. LIMITED WARRANTY, DISCLAIMER OF DAMAGES -

Except for the “Right of Replacement or Refund” described in
paragraph 1.F.3, the Project Gutenberg Literary Archive
Foundation, the owner of the Project Gutenberg™ trademark,
and any other party distributing a Project Gutenberg™ electronic
work under this agreement, disclaim all liability to you for
damages, costs and expenses, including legal fees. YOU
AGREE THAT YOU HAVE NO REMEDIES FOR NEGLIGENCE,
STRICT LIABILITY, BREACH OF WARRANTY OR BREACH
OF CONTRACT EXCEPT THOSE PROVIDED IN PARAGRAPH
1.F.3. YOU AGREE THAT THE FOUNDATION, THE
TRADEMARK OWNER, AND ANY DISTRIBUTOR UNDER
THIS AGREEMENT WILL NOT BE LIABLE TO YOU FOR
ACTUAL, DIRECT, INDIRECT, CONSEQUENTIAL, PUNITIVE
OR INCIDENTAL DAMAGES EVEN IF YOU GIVE NOTICE OF
THE POSSIBILITY OF SUCH DAMAGE.

1.F.3. LIMITED RIGHT OF REPLACEMENT OR REFUND - If

you discover a defect in this electronic work within 90 days of
receiving it, you can receive a refund of the money (if any) you
paid for it by sending a written explanation to the person you
received the work from. If you received the work on a physical
medium, you must return the medium with your written
explanation. The person or entity that provided you with the
defective work may elect to provide a replacement copy in lieu
of a refund. If you received the work electronically, the person or
entity providing it to you may choose to give you a second
opportunity to receive the work electronically in lieu of a refund.
If the second copy is also defective, you may demand a refund
in writing without further opportunities to fix the problem.

1.F.4. Except for the limited right of replacement or refund set

forth in paragraph 1.F.3, this work is provided to you ‘AS-IS’,
WITH NO OTHER WARRANTIES OF ANY KIND, EXPRESS
OR IMPLIED, INCLUDING BUT NOT LIMITED TO
WARRANTIES OF MERCHANTABILITY OR FITNESS FOR
ANY PURPOSE.

1.F.5. Some states do not allow disclaimers of certain implied

warranties or the exclusion or limitation of certain types of
damages. If any disclaimer or limitation set forth in this
agreement violates the law of the state applicable to this
agreement, the agreement shall be interpreted to make the
maximum disclaimer or limitation permitted by the applicable
state law. The invalidity or unenforceability of any provision of
this agreement shall not void the remaining provisions.

1.F.6. INDEMNITY - You agree to indemnify and hold the

Foundation, the trademark owner, any agent or employee of the
Foundation, anyone providing copies of Project Gutenberg™
electronic works in accordance with this agreement, and any
volunteers associated with the production, promotion and
distribution of Project Gutenberg™ electronic works, harmless
from all liability, costs and expenses, including legal fees, that
arise directly or indirectly from any of the following which you do
or cause to occur: (a) distribution of this or any Project
Gutenberg™ work, (b) alteration, modification, or additions or
deletions to any Project Gutenberg™ work, and (c) any Defect
you cause.

Section 2. Information about the Mission of

Project Gutenberg™
Project Gutenberg™ is synonymous with the free distribution of
electronic works in formats readable by the widest variety of
computers including obsolete, old, middle-aged and new
computers. It exists because of the efforts of hundreds of
volunteers and donations from people in all walks of life.

Volunteers and financial support to provide volunteers with the

assistance they need are critical to reaching Project
Gutenberg™’s goals and ensuring that the Project Gutenberg™
collection will remain freely available for generations to come. In
2001, the Project Gutenberg Literary Archive Foundation was
created to provide a secure and permanent future for Project
Gutenberg™ and future generations. To learn more about the
Project Gutenberg Literary Archive Foundation and how your
efforts and donations can help, see Sections 3 and 4 and the
Foundation information page at www.gutenberg.org.

Section 3. Information about the Project

Gutenberg Literary Archive Foundation
The Project Gutenberg Literary Archive Foundation is a non-
profit 501(c)(3) educational corporation organized under the
laws of the state of Mississippi and granted tax exempt status by
the Internal Revenue Service. The Foundation’s EIN or federal
tax identification number is 64-6221541. Contributions to the
Project Gutenberg Literary Archive Foundation are tax
deductible to the full extent permitted by U.S. federal laws and
your state’s laws.

The Foundation’s business office is located at 809 North 1500

West, Salt Lake City, UT 84116, (801) 596-1887. Email contact
links and up to date contact information can be found at the
Foundation’s website and official page at
www.gutenberg.org/contact

Section 4. Information about Donations to

the Project Gutenberg Literary Archive
Foundation
Project Gutenberg™ depends upon and cannot survive without
widespread public support and donations to carry out its mission
of increasing the number of public domain and licensed works
that can be freely distributed in machine-readable form
accessible by the widest array of equipment including outdated
equipment. Many small donations ($1 to $5,000) are particularly
important to maintaining tax exempt status with the IRS.

The Foundation is committed to complying with the laws

regulating charities and charitable donations in all 50 states of
the United States. Compliance requirements are not uniform
and it takes a considerable effort, much paperwork and many
fees to meet and keep up with these requirements. We do not
solicit donations in locations where we have not received written
confirmation of compliance. To SEND DONATIONS or
determine the status of compliance for any particular state visit
www.gutenberg.org/donate.

While we cannot and do not solicit contributions from states

where we have not met the solicitation requirements, we know
of no prohibition against accepting unsolicited donations from
donors in such states who approach us with offers to donate.

International donations are gratefully accepted, but we cannot

make any statements concerning tax treatment of donations
received from outside the United States. U.S. laws alone swamp
our small staff.

Please check the Project Gutenberg web pages for current

donation methods and addresses. Donations are accepted in a
number of other ways including checks, online payments and
credit card donations. To donate, please visit:
www.gutenberg.org/donate.

Section 5. General Information About Project

Gutenberg™ electronic works
Professor Michael S. Hart was the originator of the Project
Gutenberg™ concept of a library of electronic works that could
be freely shared with anyone. For forty years, he produced and
distributed Project Gutenberg™ eBooks with only a loose
network of volunteer support.

Project Gutenberg™ eBooks are often created from several

printed editions, all of which are confirmed as not protected by
copyright in the U.S. unless a copyright notice is included. Thus,
we do not necessarily keep eBooks in compliance with any
particular paper edition.

Most people start at our website which has the main PG search
facility: www.gutenberg.org.

This website includes information about Project Gutenberg™,

including how to make donations to the Project Gutenberg
Literary Archive Foundation, how to help produce our new
eBooks, and how to subscribe to our email newsletter to hear
about new eBooks.