Instructor Resource

Hutchinson, Essentials of Human Behavior, 2e

SAGE Publishing, 2017

Essentials of Human Behavior

Integrating Person Environment and
the Life Course 2nd Edition
Full download at link: https://testbankpack.com/p/test-bank-
for-essentials-of-human-behavior-integrating-person-
environment-and-the-life-course-2nd-edition-by-elizabeth-d-
hutchison-isbn-1483377725-9781483377728/

Chapter 9: Small Groups, Formal Organizations, and Communities

Test Bank

Multiple Choice

1. ______ refer to specific social positions.

a. Social structures
b. Social organizations
c. Social institutions
d. Social statuses
Ans: D
Learning Objective: LO 9.2
Cognitive Domain: Knowledge
Answer Location: Patterns in Social Life
Difficulty Level: Easy

2. ______ are patterned ways of solving the problems and meeting the requirements of a particular
society.
a. Social structures
b. Social organizations
c. Social institutions
d. Social statuses
Ans: C
Learning Objective: LO 9.2
Cognitive Domain: Knowledge
Answer Location: Patterns in Social Life
Difficulty Level: Easy

3. ______ involve rules, monitoring, and enforcement through rewards and punishments.
a. Regulatory processes
b. Normative processes
c. Cultural cognitive processes
d. Idiosyncratic processes
Ans: A
Learning Objective: LO 9.2
 Instructor Resource
Hutchinson, Essentials of Human Behavior, 2e
SAGE Publishing, 2017

Cognitive Domain: Knowledge

Answer Location: Patterns in Social Life
Difficulty Level: Easy

4. ______ involve values and norms about how things are done.
a. Regulatory processes
b. Normative processes
c. Cultural cognitive processes
d. Idiosyncratic processes
Ans: B
Learning Objective: LO 9.2
Cognitive Domain: Knowledge
Answer Location: Patterns in Social Life
Difficulty Level: Easy

5. ______ involve beliefs about the world and how things should be done.
a. Regulatory processes
b. Normative processes
c. Cultural cognitive processes
d. Idiosyncratic processes
Ans: C
Learning Objective: LO 9.2
Cognitive Domain: Knowledge
Answer Location: Patterns in Social Life
Difficulty Level: Easy

6. The ______ institution regulates production, distribution, and consumption of goods and services.
a. economic
b. health care
c. mass media
d. social welfare
Ans: A
Learning Objective: LO 9.2
Cognitive Domain: Knowledge
Answer Location: Patterns in Social Life
Difficulty Level: Easy

7. The ______ institution manages the flow of information, images, and ideas.
a. economic
b. health care
c. mass media
d. social welfare
Ans: C
Learning Objective: LO 9.2
Cognitive Domain: Knowledge
Answer Location: Patterns in Social Life
Difficulty Level: Easy

8. The ______ institution promotes wellness.

a. economic
b. health care
c. mass media
d. social welfare
Ans: B
Learning Objective: LO 9.2
Cognitive Domain: Knowledge
 Instructor Resource
Hutchinson, Essentials of Human Behavior, 2e
SAGE Publishing, 2017

Answer Location: Patterns in Social Life

Difficulty Level: Easy

9. The ______ institution is designed to enhance the functioning of individuals.

a. economic
b. health care
c. mass media
d. social welfare
Ans: D
Learning Objective: LO 9.2
Cognitive Domain: Knowledge
Answer Location: Patterns in Social Life
Difficulty Level: Easy

10. ______ refers to interrelated social institutions developed by human beings to support and constrain
human interaction for the purpose of the survival and well-being of the collectivity.
a. Social structure
b. Social organization
c. Social institution
d. Social status
Ans: A
Learning Objective: LO 9.2
Cognitive Domain: Knowledge
Answer Location: Patterns in Social Life
Difficulty Level: Easy

11. Which of the following issues are important considerations when interpreting political trends?
a. voter turnout
b. campaign finances
c. divided electorate
d. all of the above
Ans: D
Learning Objective: LO 9.2
Cognitive Domain: Knowledge
Answer Location: Contemporary Trends in Global and U.S. Institutions
Difficulty Level: Easy

12. Which of the following economic trends are associated with globalization?
a. regional disparities
b. labor force bifurcation
c. outsourcing
d. all of the above
Ans: D
Learning Objective: LO 9.2
Cognitive Domain: Comprehension
Answer Location: Contemporary Trends in Global and U.S. Institutions
Difficulty Level: Medium

13. Which of the following issues are important considerations when interpreting recent social welfare
trends?
a. decline in GDP
b. increase in social welfare programs
c. encouraged austerity
d. all of the above
Ans: D
Learning Objective: LO 9.2
 Instructor Resource
Hutchinson, Essentials of Human Behavior, 2e
SAGE Publishing, 2017

Cognitive Domain: Comprehension

Answer Location: Contemporary Trends in Global and U.S. Institutions
Difficulty Level: Medium

14. People who identify as ______ believe there are multiple gods.
a. monotheistic
b. bitheistic
c. polytheistic
d. heretics
Ans: C
Learning Objective: LO 9.2
Cognitive Domain: Comprehension
Answer Location: Contemporary Trends in Global and U.S. Institutions
Difficulty Level: Medium

15. In the ______, equality is the natural, divine order; inequality is based on abuse of privilege and
should be minimized.
a. liberal thesis
b. conservative thesis
c. radical antithesis
d. none of the above
Ans: C
Learning Objective: LO 9.3
Cognitive Domain: Comprehension
Answer Location: Theories of Social Inequity
Difficulty Level: Medium

16. ______ emphasizes the capacity of humans to create their own realities and gives central roles to
human actors, not social structures.
a. Human agency
b. Structural determinism
c. Structuration
d. None of the above
Ans: A
Learning Objective: LO 9.3
Cognitive Domain: Comprehension
Answer Location: Theories of Social Inequity
Difficulty Level: Medium

17. Which of the following distinguish social movements from other social collectivities?
a. conflictual relationships with identified opponents
b. dense informal networks
c. shared identity
d. all of the above
Ans: D
Learning Objective: LO 9.4
Cognitive Domain: Comprehension
Answer Location: Social Movements
Difficulty Level: Medium

18. ______ social movements seek to reform existing social arrangements and try out new ways of living
together.
a. Reactive
b. Proactive
c. Interactive
d. None of the above
 Instructor Resource
Hutchinson, Essentials of Human Behavior, 2e
SAGE Publishing, 2017

Ans: B
Learning Objective: LO 9.4
Cognitive Domain: Comprehension
Answer Location: Social Movements
Difficulty Level: Medium

19. Some ______ perspectives argue that the social movement literature does not capture the emotions
of the movements’ participants.
a. political opportunities
b. mobilizing structures
c. cultural framing
d. emerging
Ans: D
Learning Objective: LO 9.5
Cognitive Domain: Comprehension
Answer Location: Perspectives on Social Movements
Difficulty Level: Medium

20. Some ______ perspectives argue that the social movement literature does not consider the
fundamental differences in the ways members participate.
a. political opportunities
b. mobilizing structures
c. cultural framing
d. emerging
Ans: D
Learning Objective: LO 9.5
Cognitive Domain: Comprehension
Answer Location: Perspectives on Social Movements
Difficulty Level: Medium

21. Some ______ perspectives argue that participation in social movements is superficial and fails to
build social capital.
a. political opportunities
b. mobilizing structures
c. cultural framing
d. emerging
Ans: D
Learning Objective: LO 9.5
Cognitive Domain: Comprehension
Answer Location: Perspectives on Social Movements
Difficulty Level: Medium

22. The ______ perspective argues that participation in social movements can only succeed when
participants share a common understanding of the situation.
a. political opportunities
b. mobilizing structures
c. cultural framing
d. emerging
Ans: C
Learning Objective: LO 9.5
Cognitive Domain: Comprehension
Answer Location: Perspectives on Social Movements
Difficulty Level: Medium

23. The ______ perspective argues social movement leaders must partner with formal and informal
resources to build success.
Another document from Scribd.com that is
random and unrelated content:
The Project Gutenberg eBook of Referent
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.

Title: Referent

Author: Ray Bradbury

Illustrator: Vincent Napoli

Release date: January 2, 2023 [eBook #69687]

Language: English

Original publication: United States: Standard Magazines, Inc, 1948

Credits: Greg Weeks, Mary Meehan and the Online Distributed

Proofreading Team at http://www.pgdp.net.

*** START OF THE PROJECT GUTENBERG EBOOK REFERENT

***
REFERENT
 By BRETT STERLING

[Transcriber's Note: This etext was produced from

Thrilling Wonder Stories October 1948.
Extensive research did not uncover any evidence that
the U.S. copyright on this publication was renewed.]
Roby Morrison fidgeted. Walking in the tropical heat he heard the wet
thunder of waves on the shore. There was a green silence on Orthopedic
Island.
It was the year 1997, but Roby did not care.
All around him was the garden where he prowled, all ten years of him.
This was Meditation Hour. Beyond the garden wall, to the north, were
the High I.Q. Cubicles where he and the other boys slept in special beds.
With morning they popped up like bottle-corks, dashed into showers,
gulped food, and were sucked down vacuum-tubes half across the island
to Semantics School. Then to Physiology. After Physiology he was
blown back underground and released through a seal in the great garden
wall to spend this silly hour of meditative frustration, as prescribed by
the island Psychologists.
Roby had his opinion of it. "Damned silly."
Today, he was in furious rebellion. He glared at the sea, wishing he had
the sea's freedom to come and go. His eyes were dark, his cheeks
flushed, his small hands twitched nervously.
Somewhere in the garden a chime vibrated softly. Fifteen more minutes
of meditation. Huh! And then to the Robot Commissary to stuff his dead
hunger as taxidermists stuff birds.
And, after the scientifically pure lunch, through the tube again to
Sociology. Of course, late in the warm green afternoon, games would be
played in the Main Garden. Games some tremble-brained Psychologist
had evolved from a nightmare haunted sleep. This was the future! You
must live, my lad, as the people of the past, of the year 1920, 1930 and
1942 predicted you would live! Everything fresh, brisk, sanitary, too, too
fresh! No nasty old parents about to give one complexes. Everything
controlled, dear boy!
Roby should have been in a perfect mood for something unique.
He wasn't.
When the star fell from the sky a moment later he was only more
irritated.
The star was a spheroid. It crashed and rolled to a stop on the hot green
grass. A small door popped open in it.
Faintly, this incident recalled a dream to the child. A dream which with
superior stubbornness he had refused to record in his Freud Book this
morning. The dream-thought was in his mind at the exact instant that the
star-door popped wide and some 'thing' emerged.

It was like a dream he had refused to record in his Freud book.

Some 'thing'.
Young eyes, seeing an object for the first time, have to make a familiar
thing of it. Roby didn't know what this 'thing' was stepping from the
sphere. So, scowling, Roby thought of what it most resembled.
Instantly the 'something' became a certain thing.
Warm air ran cold. Light flickered, form changed, melted, shifted as the
thing evolved into certainty!
Startled, a tall thin pale man stood beside the metal star.
The man had pink, terrified eyes. He trembled.
"Oh, I know you." Roby was disappointed. "You're only the Sandman."
"Sand—man?"
The stranger quivered like heat rising from boiling metal. His shaking
hands went wildly up to touch his long coppery hair as if he'd never seen
or felt it before. The Sandman gazed in horror at his own hands, legs,
feet, body, as if they were all new. "Sand—man?" The word was
difficult. Talking was new to him, also. He seemed about to flee, but
something stopped him.
"Yeah," said Roby. "I dream about you every night. Oh, I know what you
think. Semantically, our teachers say that ghosts, goblins and fairies and
sandmen are labels, only names for which there aren't any actual
referents, no actual objects or things. But to heck with that. We kids
know more than teachers about it. You being here proves the teachers
wrong. There are Sandmen after all, aren't there?"
"Don't give me a label!" cried the Sandman, suddenly. He seemed to
understand now. For some reason he was unutterably frightened. He kept
pinching, tugging and feeling his own long new body as if it was a thing
of terror. "Don't name me, don't label me!"
"Huh?"
"I'm a referent!" screamed the Sandman. "I'm not a label! I'm just a
referent! Let me go!"
Roby's little green cat-eyes slitted. "Say—" He put his hands on his hips.
"Did Mister Grill send you? I bet he did! I bet this is another of those
psychological tests!"
Roby flushed with dark anger. Always and forever they were at him.
They sorted his games, food, education, took away his friends and his
mother, his father, and now—played tricks on him!
"I'm not from Mr. Grill," pleaded the Sandman. "Listen, before anyone
else comes and sees me this way and makes it worse!"
Roby kicked violently. The Sandman danced back, gasping:
"Listen. I'm not human, you are!" he shouted. "Thought has moulded the
flesh of all you here on this world! You're all dictated to by labels. But I
—I am a pure referent!"
"Liar!" More kicking from Roby.
The Sandman gibbered with frustration. "The truth, child! Centuries of
thought have moulded your atoms to your present form; if you could
undermine and destroy that belief, the beliefs of your friends, teachers
and parents, you could change form, be a pure referent, too! Like
Freedom, Liberty, Humanity, or Time, Space and Justice!"
"Grill sent you; he's always pestering me!"
"No, no! Atoms are malleable. You've accepted certain labels on Earth,
called Man, Woman, Child, Head, Hands, Fingers, Feet. You've changed
from anything into something."
"Leave me alone," protested Roby. "I've a test today, I have to think." He
sat on a rock, hands over his ears.

The Sandman glanced fearfully about, as if expecting disaster. Standing

over Roby, he was beginning to tremble and cry. "Earth could have been
a thousand other ways. Thought, using labels, went around tidying up a
disordered cosmos. Now, no one bothers trying to think things into other,
different shapes!"
"Go away," sniffed Roby.
"I landed near you, not suspecting the danger. I was curious. Inside my
spheroid space ship, thoughts cannot change my shape. I've traveled
from world to world, over the centuries, and never been trapped like
this!" Tears sprang down his face. "And now, by the gods, you've labeled
me, caught me, imprisoned me with thought! This Sandman idea.
Horrible! I can't fight it, I can't change back! And if I can't change back
I'll never fit into my ship again, I'm much too large. I'll be stranded on
Earth, forever. Release me!"
The Sandman screamed, wept, shouted. Roby's mind wandered. He
debated quietly with himself. What did he want most of all? Escape from
this island. Silly. They always caught you. What then? Games, maybe.
Like to play regular games, minus psycho-supervision. Yeah, that'd be
nice. Kick-the-can, or spin-the-bottle, or even just a rubber ball to
bounce on the garden wall and catch, all to himself. Yeah. A red ball.
The Sandman cried, "Don't—"
Silence.
A red rubber ball bounced on the ground.
Up and down bounced the red rubber ball.
"Hey!" It took Roby a moment to realize the ball was there. "Where'd
this come from?" He hurled it against the wall, caught it. "Gee!"
He didn't notice the absence of a certain stranger who had been shouting
at him a few moments before.
The Sandman was gone.

Way off in the hot distance of the garden a bonging noise sounded. A
cylinder was rushing up the tube to the wall's circular door. The door
peeled open with a faint hiss. Footsteps rustled measuredly along the
path. Mister Grill stepped through a lush frame of tiger-lillies.
"Morning, Roby. Oh!" Mister Grill stopped, his chubby pink face looked
as if it had been kicked. "What have you there, boy?" he cried.
Roby bounced the object against the wall.
"This? A rubber ball."
"Eh?" Grill's small blue eyes blinked, narrowing. Then he relaxed. "Why,
of course. For a moment I thought I saw—uh—er—"
Roby bounced the ball some more.
Grill cleared his throat. "Lunch time. Meditation Hour is over. And I'm
not certain that Minister Locke would enjoy your playing unorthodox
games."
Roby swore under his breath.
"Oh, well, then, go on. Play. I won't tattle." Mr. Grill was in a generous
mood.
"Don't feel like playing." Roby sulked, shoving his sandal-tip into the
dirt. Teachers spoiled everything. You couldn't vomit without
permission.
Grill tried to interest the boy. "If you come to lunch now I'll let you
televise your mother in Chicago afterward."
"Time limit, two minutes, ten seconds, no more no less," was Roby's acid
reply.
"I gather you don't approve of things, boy."
"I'll run away some day, wait and see!"
"Tut, lad. We'll always bring you back, you know."
"I didn't ask to be brought here in the first place." Roby bit his lip,
staring at his new red rubber ball. He thought he had seen it kind of, sort
of, well—move. Funny. He held the ball in his hand. The ball shivered.
Grill patted his shoulder. "Your mother is neurotic. Bad environment.
You're better off here on the island. You have a high I.Q. and it is an
honor for you to be here with the other little boy geniuses. You're
unstable and unhappy and we're trying to change that. Eventually you'll
be the exact antithesis of your mother."
"I love mother!"
"You like her," corrected Grill, quietly.
"I like mother," replied Roby, disquieted. The red ball twitched in his
hand, without his touching it. He looked at it with wonder.
"You'll only make it harder for yourself if you love her," said Grill.
"You're god-damn silly," said Roby.
Grill stiffened. "Don't swear. Besides, you don't really mean god and you
don't mean damn. There's very little of either in the world. Semantics
Book Seven, page 418, Labels and Referents."
"Now, I remember," shouted Roby, looking around. "There was a
Sandman here just now and he said—"
"Come along," said Mr. Grill. "Lunch time."

Commissary food emerged from robot-servers on extension springs.

Roby accepted the ovoid plate and milk-globe silently. Where he had
hidden it, the red rubber ball pulsed and beat like a heart under his belt.
A gong rang. He gulped food swiftly. The tumble for the tube began.
They were blown like feathers across the island to Sociology and then,
later in the afternoon, back again for games. Hours passed.
Roby slipped away to the garden to be alone. Hatred for this insane,
never-stopping routine, for his teachers and his fellow students flashed
through him in a scouring torrent. He sat alone and thought of his
mother, a long great distance away. In great detail he recalled how she
looked and what she smelled like and how her voice was and how she
touched and held and kissed him. He put his head down into his hands
and began to fill the palms of his hands with small tears.
He dropped the red rubber ball.
He didn't care. He only thought of his mother.
The jungle shivered. Something shifted, quickly.
A woman ran through the deep grass!
She ran away from Roby, slipped, cried out, and fell.
Something glittered in the sunlight. The woman was running toward that
silvery glittering thing. The spheroid. The silver star ship! And where
had she come from? And why was she running toward the sphere? And
why had she fallen as he looked up? She didn't seem to be able to get up.
Roby leaped from his rock, gave chase. He caught up with and stood
over the woman.
"Mother!" he screamed.
Her face shivered and changed, like melting snow, then took on a hard
cast, became definite and handsome.
"I'm not your mother," she said.
He didn't hear. He only heard his own breath moving over his shaking
lips. He was so weak with shock he could hardly stand. He put out his
hands toward her.
"Can't you understand?" her face was cold. "I'm not your mother. Don't
label me! Why must I have a name! Let me get back to my ship! I'll kill
you if you don't!"
Roby swayed. "Mother, don't you know me? I'm Roby, your son!" He
wanted only to cry against her, tell her of the long months of
imprisonment. "Please, please, Mom, please remember me!"
Sobbing, he moved forward and fell against her.
Her fingers tightened on his throat.
She strangled him.
He tried to scream. The scream was caught, pressed back into his
bursting lungs. He flailed his legs.
Deep in her cold, hard, angry face, Roby found the answer even as her
fingers tightened and things grew dark.
Deep in her face he saw a vestige of the Sandman.
The Sandman. The star falling on the summer sky. The silver sphere, the
ship toward which this 'woman' had been running. The disappearance of
the Sandman, the appearance of the red ball, the vanishing of the red ball
and now the appearance of his mother. It all fitted!
Matrixes. Moulds. Thought habits. Patterns. Matter. The history of man,
his body, all things in the universe.
She was killing him.
She would make him stop thinking, then she would be free.
Thoughts. Darkness. He could barely move, now. Weak, weak. He had
thought 'it' was his mother. It wasn't. Nevertheless 'it' was killing him.
What if Roby thought something else? Try, anyway. Try it. He kicked. In
the wild darkness he thought, hard, hard.
With a wail, his 'mother' withered before him.
He concentrated.
Her fingers dwindled from his throat. Her bright face crumbled. Her
body shrank to another size.
He was free. He rose up, gasping.
Through the jungle he saw the silver sphere lying in the sun. He
staggered toward it, then cried out with the sharp thrill of the plan that
formed in his mind.
He laughed triumphantly. He stared once more at 'it'. What was left of
the woman form changed before his eyes, like melting wax. He reshaped
it into something new.
The garden wall trembled. A vacuum cylinder was hissing up through
the tube. Mr. Grill was coming. Roby would have to hurry or his plan
would be ruined.
Roby ran to the spheroid, peered in. Simple controls. Just enough room
for his small body—if the plan worked. It had to work. It would work.
The garden trembled with the approaching thunder of the cylinder. Roby
laughed. To hell with Mister Grill! To hell with this island!
He thrust himself into the ship. There was much he could learn, it would
come in time. He was just on the skirt of knowledge now, but that little
knowledge had saved his life, and now it would do even more.
A voice cried out behind him. A familiar voice. So familiar that it made
Roby shudder. Roby heard small boy feet crash the underbrush. Small
feet on a small body. A small voice pleading!
Roby grasped the ship controls. Escape. Complete and unsuspected.
Simple. Wonderful. Grill would never know.
The sphere door slammed. Motion.
The star, Roby inside, rose on the summer sky.

Mr. Grill stepped out of the seal in the garden wall. He looked around for
Roby. Sunlight struck him warmly in the face as he hurried down the
path.
There! There was Roby. In the clearing ahead of him. Little Roby
Morrison staring at the sky, making fists, crying out to nobody. At least
Grill could see nobody about.
"Hello, Roby," called Grill.
The boy jerked at the sound. He—wavered—in color, density, and
quality. Grill blinked, decided it was only the sun.
"I'm not Roby!" cried the child. "Roby escaped! He left me to take his
place, to fool you so you wouldn't hunt for him! He fooled me, too!"
screamed the child, nastily, sobbing. "No, no, don't look at me! Don't
think that I'm Roby, you'll make it worse! You came expecting to find
him, and you found me and made me into Roby! You're moulding me
and I'll never, never, never change, now! Oh, God!"
"Come now, Roby—"
"Roby'll never come back. I'll always be him. I was a rubber ball, a
woman, a Sandman. But, believe me, I'm only malleable atoms, that's all.
Let me go!"
Grill backed up slowly. His smile was sick.
"I'm a referent, I'm not a label!" cried the child.
"Yes, yes, I understand. Now, now, Roby, Roby, you just wait right there,
right there now, while I, while I, while I call the Psycho-Ward."
Moments later, a corps of assistants ran through the garden.
"God damn you all!" screamed the child, kicking. "Damn you!"
"Tut," declared Grill quietly, as they forced the child into the vac-
cylinder. "You're using a label for which there is no referent!"
The cylinder sucked them away.
A star blinked on the summer sky and vanished.
*** END OF THE PROJECT GUTENBERG EBOOK REFERENT ***

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.