You are on page 1of 49

Advertising: An Integrated Marketing

Communication Perspective 4e (Pack -


includes Connect) 4th Edition George
E. Belch
Visit to download the full and correct content document:
https://textbookfull.com/product/advertising-an-integrated-marketing-communication-p
erspective-4e-pack-includes-connect-4th-edition-george-e-belch/
More products digital (pdf, epub, mobi) instant
download maybe you interests ...

Integrated Advertising, Promotion, and Marketing


Communications Kenneth E. Clow

https://textbookfull.com/product/integrated-advertising-
promotion-and-marketing-communications-kenneth-e-clow/

Real Communication: An Introduction - 4e Dan O'Hair

https://textbookfull.com/product/real-communication-an-
introduction-4e-dan-ohair/

Computer Programming and Utilization, 4e 4th Edition E.


Balagurusamy

https://textbookfull.com/product/computer-programming-and-
utilization-4e-4th-edition-e-balagurusamy/

Advertising Promotion and Other Aspects of Integrated


Marketing Communications 9th Edition Terence A. Shimp

https://textbookfull.com/product/advertising-promotion-and-other-
aspects-of-integrated-marketing-communications-9th-edition-
terence-a-shimp/
Advertising, promotion and other spects of integrated
marketing communications 10th Edition Terence A. Shimp

https://textbookfull.com/product/advertising-promotion-and-other-
spects-of-integrated-marketing-communications-10th-edition-
terence-a-shimp/

Digital Marketing strategy: An integrated approach to


online marketing Simon Kingsnorth

https://textbookfull.com/product/digital-marketing-strategy-an-
integrated-approach-to-online-marketing-simon-kingsnorth/

Mobile Marketing How Mobile Technology is


Revolutionizing Marketing Communications and
Advertising 1st Edition Rowles

https://textbookfull.com/product/mobile-marketing-how-mobile-
technology-is-revolutionizing-marketing-communications-and-
advertising-1st-edition-rowles/

An Integrated Approach To Communication Theory And


Research Don W. Stacks

https://textbookfull.com/product/an-integrated-approach-to-
communication-theory-and-research-don-w-stacks/

Health Economics An International Perspective 4th


Edition Barbara Mcpake

https://textbookfull.com/product/health-economics-an-
international-perspective-4th-edition-barbara-mcpake/
Page i

advertising
AN INTEGRATED MARKETING COMMUNICATION PERSPECTIVE
Page ii

Dedication
From Gayle:

To my family—Peter, Rhys and Georgia Amery—whose words of love and support, whose kindness and
thoughtful actions, fill every chapter of my life.

From Irene:

With love and thanks to my family, Tony, Alex and Helena Wolkow, for your constant encouragement and
support.

To the advertising, marketing and IMC students at QUT and the many other universities where these subjects
are taught. This book is for you, for your love of learning and for the inspiration you provide that encourages
us to share our knowledge and ideas with you each semester.

From David:

A huge thank you to my family—Judy, Helen, Susie and Kathryn—for their continuous love and support. Also,
thanks go to my colleagues and students, both past and present, who have assisted and inspired me along the
way.
Page iii

advertising
BELCH • BELCH • KERR • POWELL • WALLER
Page iv

Copyright © 2020 McGraw-Hill Education (Australia) Pty Ltd


Additional owners of copyright are acknowledged in on-page credits.

Every effort has been made to trace and acknowledge copyrighted material. The authors and publishers tender their apologies
should any infringement have occurred.

Reproduction and communication for educational purposes


The Australian Copyright Act 1968 (the Act) allows a maximum of one chapter or 10% of the pages of this work, whichever is the
greater, to be reproduced and/or communicated by any educational institution for its educational purposes provided that the
institution (or the body that administers it) has sent a Statutory Educational notice to Copyright Agency (CA) and been granted a
licence. For details of statutory educational and other copyright licences contact: Copyright Agency, Level 12, 66 Goulburn Street,
Sydney NSW 2000. Telephone: (02) 9394 7600. Website: www.copyright.com.au

Reproduction and communication for other purposes


Apart from any fair dealing for the purposes of study, research, criticism or review, as permitted under the Act, no part of this
publication may be reproduced, distributed or transmitted in any form or by any means, or stored in a database or retrieval
system, without the written permission of McGraw-Hill Education (Australia) Pty Ltd, including, but not limited to, any network
or other electronic storage.
    Enquiries should be made to the publisher via www.mheducation.com.au or marked for the attention of the permissions editor
at the address below.

Author: George E. Belch, Michael A. Belch, Gayle Kerr, Irene Powell, David Waller

Title: Advertising: An Integrated Marketing Communication Perspective 4e

Print ISBN: 9781760422400


Published in Australia by
McGraw-Hill Education (Australia) Pty Ltd
Level 33, 680 George Street, Sydney NSW 2000
Publishers: Jillian Gibbs and Matthew Coxhill
Content developer: Anne Harmer and Alex Payne
Production editor: Genevieve MacDermott
Copyeditor: Alison Moore
Proofreader: Natalie Crouch
Cover design: Christa at Christabella Designs
Internal design: Seymour Design
Typeset in That Light 10/13 by SPi Global
Page v

CONTENTS IN BRIEF

WHAT IS INTEGRATED MARKETING COMMUNICATION?


CHAPTER 1 Everything is digital: changes and challenges for consumers, marketers and society
CHAPTER 2 Integrated marketing communication: history and current state 3
25

HOW MARKETING COMMUNICATION WORKS


CHAPTER 3 Integration: the I in IMC 55
CHAPTER 4 Consumer empowerment and behaviour 75
CHAPTER 5 Communication and engagement with the brand 109
CHAPTER 6 Social, ethical and regulatory aspects 155

PLANNING AND DECISION MAKING


CHAPTER 7 Consumer insight and strategy 193
CHAPTER 8 Analytics 231
CHAPTER 9 Search 251
CHAPTER 10 Creative strategy 275
CHAPTER 11 Media strategy 311
CHAPTER 12 Measurement: output and process measures 373

MARKETING COMMUNICATION DISCIPLINES


CHAPTER 13 Advertising 421
CHAPTER 14 Public relations and publicity 443
CHAPTER 15 Sales promotion, direct marketing and personal selling 471
Page vi

CONTENTS

Preface xiii
About the Australian authors xiv
About the contributing authors xvi
About the feature authors xviii
About the original authors xxi
Acknowledgments xxii
Case study matrix xxiv
Highlights of this edition xxv
Text at a glance xxix
Digital resources xxxi

PART 1 WHAT IS INTEGRATED MARKETING COMMUNICATION?

CHAPTER 1 Everything is digital: changes and challenges for consumers, marketers and s
ociety 3
» What is a brand? 4
» Data has always shaped society 5
» Four industrial revolutions 7
» Disrupted marketers 9
Opportunities for marketers 9
Challenges for marketers 12
» Empowered consumers 14
Consumer empowerment theory 14
Opportunities versus risks 15
We are no longer ‘ordinary Australians’ 15
Second digital generation 16
» Changed society 17
AI and automation 18
Privacy and data management 19
Privacy as a trade-off 20

Summary 21
Key terms 22
Discussion questions 22
Endnotes 23
CHAPTER 2 Integrated marketing communication: history and current state 25
» Marketing gold in the Commonwealth Games 2018 26
» Marketing: where IMC begins 27
Marketing focuses on relationships and value 28
Customer relationship marketing 29
The marketing mix 30
» IMC: where marketing communication comes together 32
Stages and sages of IMC 32
Stage 1: One look, one voice, circa 1980s 33
Stage 2: Strategic integration, circa 1990s 33
Stage 3: Integrating the whole organisation, circa 2000s 34
Stage 4: Connected inside and out, circa 2010s 34
» Definitions of IMC 36
» Implementation of IMC 37
Barriers to implementation 39
» Tools for IMC 39
Advertising 40
Direct marketing 40
Sales promotion 40
Public relations 41
Sponsorship 42
Personal selling 42

Summary 43
Key terms 43
Discussion questions 43
Endnotes 44
Page vii

PART 2 How marketing communication works

CHAPTER 3 Integration: the I in IMC 55

» The right person, the right message and the right time 56
» Integration 57
» Types of integration 58
Message integration 58
Strategic integration 59
Organisational integration 59
Customer-integrated marketing communication 60
Process of integration 60
» Synergy 62
Congruence, or fit 62
IMC theory: congruity theory 63
Synergy across disciplines 64
Cross-media and cross-platform synergy 64
Multi-tasking and synergy 65
» Strategic consistency 65

IMC Perspective

3.1 Too much integration—The risk of native advertising 66

Strategic consistency triangle 67

» Paid, owned and earned media 68


Paid media 69
Owned media 69
Earned media 70

Summary 70
Key terms 71
Discussion questions 71
Endnotes 72

CHAPTER 4 Consumer empowerment and behaviour 75

» Do consumers use social media differently from day to evening? 76


» Consumer empowerment and the push–pull marketplace 77
» An overview of consumer behaviour 79
» The consumer decision-making process 80
Problem recognition 80
Information search 82
Alternative evaluation 82
Purchase decision 84
Postpurchase evaluation 85
» Influences at each stage of the decision-making process 86
Motivation 86
Perception 90
Attitudes 92
Integration processes and decision rules 94
» Micro influences on consumer behaviour 96
Behavioural learning theory 96

IMC Perspective
4.1 Subliminal advertising—maybe it does work after all! 97

Cognitive learning theory 100


» Macro influences on consumer behaviour 101
Culture 101
Subcultures and social class 102
Reference groups 102
Situational determinants 104
» New approaches to understanding consumer behaviour 104
New methodologies 104
New insights 105

Summary 105
Key terms 105
Discussion questions 106
Endnotes 106
Page viii

CHAPTER 5 Communication and engagement with the brand 109

» Word of mouth today ... likes, ratings, reviews, hashtags and shares 110

IMC Perspective

5.1 Show and tell online: how to engage your audience 112

» The nature of communication 113


» A basic model of communication 113
Source encoding 114
Message 115
Channel 116
Receiver/decoding 116
Noise 117
Response/feedback 117
» Analysing the receiver 118
Identifying the target audience 118
Active listening begins before responding 120
» Response models 121
Traditional linear learning response hierarchy models 121
Evolving response hierarchies 124
Evolving response models: networks not hierarchies 127
So how does communication influence the receiver? 129
» Cognitive processing of communication and persuasion 129
Theory of cognition: the cognitive response approach 130
Cialdini’s principles of persuasion 132
Paths to persuasion: the elaboration likelihood model 133
» Brands, branding and engagement 136
What is a brand? 136
Brand identity 137
Measuring the brand 138
How consumers engage with brands 140
IMC turns consumer data into brand relationships 148

Summary 150
Key terms 150
Discussion questions 151
Endnotes 151

CHAPTER 6 Social, ethical and regulatory aspects 155

» Do young people support advertising regulations? 156


» IMC ethics 159
» Social and ethical criticisms of advertising 160
Advertising as untruthful or deceptive 160
Advertising as offensive or in bad taste 163
Advertising and children 165
Social and cultural consequences 169
» Regulation 173
Government regulation of advertising 173
Self-regulation 175

Summary 181
Key terms 181
Discussion questions 181
Endnotes 182

PART 3 Planning and decision making


CHAPTER 7 Consumer insight and strategy 193

» Looking beyond the data to understand people 194


» The planning process 196
Review of the marketing plan 197
IMC situation analysis 197
IMC audit 200
Strategic integration tool 202
» IMC strategic decisions 203
Identifying markets 204
Market segmentation 205
» Positioning 209
» Planning for IMC 213
Outside-in planning 213
Zero-based planning 214
» Account planning in the digital era 217
Role of the account planner 218
Data for planning 219
Developing consumer insight 221
Future of planning 221

Page ix

IMC PERSPECTIVE

7.1 Insight: the ins and outs 222

» Determining objectives 225


Objectives should come from the IMC problem 225
Characteristics of objectives 225
Setting good objectives 227

Summary 227
Key terms 228
Discussion questions 228
Endnotes 228

CHAPTER 8 Analytics 231

» Analytics for marketing, the most important chapter in the book—period 232
» Data-enabled decision making 234
Data paralysis 234
Attention 234
Bias 235

IMC PERSPECTIVE

8.1 Your day in data 236

» Data sources 237


First-party data 237
Second-party data 237
Third-party data 238
Issues in data management 239
Structured and unstructured data 239
» The technology driving analytics 241
Marketing stacks 241
Tactification 243
Normalisation 243
Parity 243
Time to parity 244
Artificial intelligence (AI) 244
» Data-empowered creativity 245
Dynamic communications 245
AutoAds case 247
Creative multiplier 248

Summary 248
Key terms 248
Discussion questions 249
Endnotes 249

CHAPTER 9 Search 251

» Searching for understanding 252


» Historical search tactics 253
Paid search 254
Organic search 254
» The search ecosystem 256
How search engines function 256
Search engine results page (SERP) 257
» Paid search 258
How Google Ads works 258
Keyword match types and triggers 260
Managing costs 261
Writing effective paid ads 261
» SEO and organic search 262
A working SEO model 262

IMC PERSPECTIVE

9.1 Good content starts with a few key words 264

» The blended search approach 267


Defensive bidding 268
Targeted high-value keywords 268
Metrics and data for your search channels 268
» Moving forward in search 271
How relevant is SEO today? 271
Artificial intelligence (AI) and voice search 271

Summary 273
Key terms 273
Discussion questions 273
Endnotes 274
Page x

CHAPTER 10 Creative strategy 275

» Burn this textbook 276


» What is creativity? 277
Academics define creativity 278
Industry visionaries on creativity 279
» How creativity works 282
Creative advertising facilitates memory 282
Creative ads make other ads less memorable 282
Creative ads make creative consumers 282
» The creative process 283
Creativity and technology 285
» Message strategy: what to say 286
Strategic triad 287
Message strategy statement 288
Types of message strategies 289
» The big idea: how to say it 292
Creative thinking 294
» How to execute it: appeals and execution styles 295
Advertising appeals 296
‘Execution can become content’ 299
Creative tactics 302
» Behind every good campaign is a great client 305
Guidelines for evaluating creative output 306

Summary 308
Key terms 308
Discussion questions 308
Endnotes 309

CHAPTER 11 Media strategy 311

» The rise and implications of programmatic buying in advertising 312


» An overview of media planning 315
» Some basic terms and concepts 316
The media plan 317
Challenges in media planning 317
» Developing the media plan 319
Market analysis and target market identification 319
Establishing media objectives 321
Scheduling 326
» Developing and implementing media strategies 328
Media mix 328
Target market coverage, including geographical coverage 328
Creative aspects and mood 329
Flexibility 330
Budget considerations 331
Evaluation and follow-up 332

IMC PERSPECTIVE

11.1 What comes first, chicken or egg? Creative or media? Or just great integrated comm
unication strategy? 333

» Characteristics of media 335


» Digital advertising 336
Introduction to digital advertising 336
Advantages of digital media 336
Challenges of digital media 338
Targeting options of digital media 339
Social media advertising 340
Buying digital media 340
Measuring effectiveness 342
Future of digital 342
» Television 344
Advantages of television 344
Limitations of television 345
Buying television time 347
Regional advertising 347
Methods of buying time on television 347
Subscription television 348
Measuring the TV audience 349
» Radio 350
Advantages of radio 351
Limitations of radio 353
Buying radio time 353
Audience information 354
» Print 354
The role of magazines and newspapers 354
Magazines 355
Classifications of magazines 355
Advantages of magazines 357
Limitations of magazines 359
Circulation and readership 360
Audience information and research for magazines 360
Purchasing magazine advertising space 361
Newspapers 361
Audience information and research for newspapers 365
Purchasing newspaper space 365
Page xi
» Out-of-home media 366
Mobile billboards 366
Point-of-purchase media 367
Advantages of out-of-home advertising 367
Limitations of out-of-home advertising 367
Measurement in out-of-home media 368
» Cinema 368
Advantages of cinema advertising 368
Limitations of cinema advertising 368

Summary 369
Key terms 369
Discussion questions 369
Endnotes 370

CHAPTER 12 Measurement: output and process measures 373

» You can use data to prove anything 374


» The importance of measurement 375
Arguments for and against 376
» The measurement process 377
What to test 378

IMC PERSPECTIVE

12.1 Neuromarketing 379

When to test 381


Where to test 383
How to test 384

» Testing for campaign development 385


Concept generation and testing 385
Rough art, copy and commercial testing 386
Pretesting of finished ads 388
Testing in the marketplace 394
» Evaluating the effectiveness of IMC programs 401
Process measures 402
Evidence of synergy 402
Return on investment 404
» New initiatives in measurement 404

IMC PERSPECTIVE

12.2 Marketing metrics and effectiveness 405

Isolating the effect of media 407


Cross-media measurement 407
Digital platforms 408
Social media 409

Summary 410
Key terms 410
Discussion questions 410
Endnotes 411

PART 4 Marketing communication disciplines


CHAPTER 13 Advertising 421

» Ad agencies campaign for social good 422


» Advertising defined: you’ve been watching it all your life, but exactly how do you define it?
The importance of advertising 423
Functions and structure of ad agencies 424
427
IMC PERSPECTIVE

13.1 Australian advertising today: digital is changing everything 431

» History of advertising: where marketing communication began in Australia and New Zealand
» The changing advertising landscape 432
Changing structure and ownership 433
433
» The future of advertising
434
The death of advertising
434
Digital media and interactive advertising
435
Getting to grips with interactive advertising 436

IMC PERSPECTIVE
13.2 The future of advertising agencies: how best to serve clients 438

Summary 439
Key terms 440
Discussion questions 440
Endnotes 440
Online Resources 441
Page xii

CHAPTER 14 Public relations and publicity 443

» Hey tosser! When public relations adds a creative edge to increase engagement 444
The value of publicity, public relations and corporate advertising 445
» Public relations 446
The definition of public relations 446
Integrating public relations into the IMC mix 447
» Practising public relations 449
Behind perception, attitude and behaviour measures 449
Establishing a public relations plan 451
Developing and executing the public relations program 452
Advantages and disadvantages of public relations 457
» Measuring the effectiveness of public relations 458
» Publicity as a strategy 460
The power of publicity 460

IMC PERSPECTIVE

14.1 Negative publicity: companies and industries have to deal with crisis management
461
Gaining publicity 462
The control and dissemination of publicity 462
Advantages and disadvantages of publicity 464

» Corporate advertising 464


Objectives of corporate advertising 464
Types of corporate advertising 465
Advantages and disadvantages of corporate advertising 468

Summary 469
Key terms 470
Discussion questions 470
Endnotes 470

CHAPTER 15 Sales promotion, direct marketing and personal selling 471


» Communicating with difficult-to-reach people: landholders 472
» The scope and role of sales promotion 474
Limited quantity versus limited time messages 476
» The growth of sales promotion 476
Reasons for the increase in sales promotion 477
Concerns about the increased role of sales promotion 481
» Consumer-orientated sales promotion 481
Objectives of consumer-orientated sales promotion 481
Consumer-orientated sales promotion techniques 483
» Trade-orientated sales promotion 492
Objectives of trade-orientated sales promotion 492
Types of trade-orientated promotions 493
Sales promotion trap 498
» Direct marketing and personal selling 499
Defining direct marketing 499
The growth of direct marketing 500
Direct marketing objectives 501
Developing a database 502
Direct marketing strategies and media 502
Internet 505
Direct selling 505
Evaluating the effectiveness of direct marketing 506
» Advantages and limitations of direct marketing 506
» The scope of personal selling in the IMC process 508

IMC PERSPECTIVE

15.1 The nature of personal selling 509

Relationship marketing 510


Personal selling responsibilities 510

» Advantages and limitations of personal selling 511


» Evaluating the personal selling effort 513
Criteria for evaluating personal selling 513

Summary 513
Key terms 514
Discussion questions 514
Endnotes 514

Appendix: From ‘Coming Soon’ to ‘Come Soon’ 523


Glossary 529
Index 541
Page xiii

PREFACE

INTEGRATION IS BIGGER THAN THE SUM OF THE CHAPTERS

I would not be very good at the popular KonMari Method™ of putting things into boxes. (Just have a
look at my office!) Some textbooks do it very well. There is a box about advertising. A section on
communication theory. A separate chapter on digital marketing. All neat and ordered. And while
this might be a good way of clearing up the required content, it focuses on the parts instead of the
bigger picture.

With disciplinary boundaries blurring and technology uniting organisational systems and data, it is
important to recognise the value of integration. How can the marketing and the customer service
centre, the advertising and the organisational systems, the publicity and the website activity all be
brought together with a single strategic focus? Integration is bigger than the boxes alone, greater
than the sum of the chapters. And integration is driven by strategy, creativity and digital platforms.

This integrated approach is evident in every page of this textbook—from our starting premise in
Chapter 1 that ‘everything is digital’ to showing how good content can improve search rankings
and how analytics can measure our communication efforts so that we can optimise them.

We have also integrated our author team. Instead of a couple of lead Australian authors, we have a
team of them—academics who are specialist teachers and researchers in their areas of strategy,
measurement, media and public relations; industry practitioners who have produced new chapters
on analytics and search; plus the brains trust of industry providing personal perspectives and
integrating new ideas throughout the book.

So don’t just think the chapters are the sum of IMC. Add your thinking, your critical reasoning, your
creativity and break out of those prepackaged ideas to think better and bolder than ever before.

Part 1 —What is IMC?—begins with the premise that everything is digital. It demonstrates how
data has always shaped society, through its four industrial revolutions, to deliver digital disruption
and new opportunities for customers, marketers and society. Chapter 2 examines the impact of
this on marketing and its new focus on value, relationships and customer experience. Plus, how this
environment has empowered IMC through the integration of organisations, platforms and data.

Part 2 —How does IMC work?—looks at integrating paid, owned and earned media, organisational
systems and consumer data to produce synergy, which has demonstrated economic value for the
brand and the customer. Chapter 3 explores this from the perspective of synergy. Chapter 4
examines it through consumer empowerment theory and frameworks of consumer behaviour and
decision making. Chapter 5 looks at communication theory and consumer engagement with the
brand, while Chapter 6 provides the ethical, legal and regulatory frameworks.

Part 3 —Planning and decision making—takes us through the campaign process. It takes us from
consumer insights and strategy in Chapter 7 to measuring consumer behaviour through analytics
in Chapter 8 . Chapter 9 is all about search—paid, SEO and a blended approach. Then we
make some creative decisions in Chapter 10 , followed by media decisions in Chapter 11 ,
before looking at how to measure the outcomes in Chapter 12 .

Part 4 —Marketing communication disciplines—examines the evolution, current practice and


challenges for the future of advertising, public relations, sales promotion, direct marketing and
personal selling.

Gayle Kerr
Page xiv

ABOUT THE AUSTRALIAN AUTHORS

GAYLE KERR

Gayle’s passion for advertising began as a copywriter working in the advertising industry for more
than a decade. She shifted from writing advertising to teaching and researching it. And Gayle now
shares her love of advertising as a Professor in Advertising and IMC at the Queensland University of
Technology.

As a teacher, Gayle has introduced many innovations, including the first postgraduate Advertising
and IMC courses in Australia and the first advertising digital units at both undergraduate and
postgraduate level; she was also the first to implement a customer experience (CX) framework for
online teaching.

In recognition of both her passion and her innovation, Gayle won Australia’s highest university
teaching award, the AAUT Teaching Excellence Award in 2017. She is also the first and only non-US
academic to be honoured with the American Academy of Advertising Billy I. Ross Award for
Education in 2012. She won an Australian Government Citation for Outstanding Contributions to
Student Learning in 2013 and the QUT Vice-Chancellor’s Award for Excellence in Leadership in
2012. Her philanthropic work for AMPhilanthropy earned her a Vice-Chancellor’s Team Award in
2017.

Gayle’s PhD was the first in Australia in the area of IMC and was acknowledged in the US industry
magazine Marketing News. Since then, she has published over 80 peer-reviewed articles and
conference papers in the area of advertising regulation, advertising avoidance, digital platforms and
IMC, and in educational issues relating to advertising and IMC.

Gayle was the founding president of the Australia and New Zealand Academy of Advertising
(ANZAA) and served on the Executive of the American Academy of Advertising from 2014–2016.
She is also Deputy Editor of a leading international journal, the Journal of Marketing
Communications. With all of these innovations, across many years, her passion for advertising
continues to grow.

DAVID WALLER

David Waller is a Senior Lecturer in the School of Marketing, University of Technology Sydney
(UTS). David received a Bachelor of Arts from the University of Sydney, a Master of Commerce
from the University of New South Wales and a PhD from the University of Newcastle. He has over
20 years’ experience teaching marketing and advertising subjects at several universities in
Australia, including the University of Newcastle, University of New South Wales and Charles Sturt
University.

Prior to his academic career, David worked in the film and banking industries. His research has
included projects on: marketing communications; advertising agency–client relationships;
controversial advertising; international advertising; marketing ethics; and marketing education. He
has published over 60 refereed articles in academic journals, including the Journal of Advertising,
Journal of Advertising Research, European Journal of Marketing, International Journal of
Advertising, Journal of Business Ethics and Journal of Marketing Communications. David has also
authored/co-authored several textbooks and workbooks that have been used in several countries in
the Asia–Pacific region, and is a regular presenter at local and international conferences.

Page xv

IRENE H POWELL
Irene was Senior Lecturer and former Deputy Head and Director of Teaching in the Department of
Marketing at Melbourne’s Monash University. She received her honours degree in Marketing from
Strathclyde University in Scotland and her master’s degree in Communications from Monash
University.

Irene’s teaching interests are in integrated marketing communication, advertising and the media
industry. She began her academic career at Manchester Metropolitan University in the UK. Prior to
this, Irene gained marketing management experience in the dairy industry in the UK, with
responsibility for communication strategy, advertising and promotion. She has also managed an
advertising agency.

Irene’s research interests are in the fields of marketing communication, advertising, integration and
marketing skills development, with publications in the Journal of Advertising, Journal of Marketing
Management, Journal of Business Research and Journal of Marketing Education, and in the series
‘Research in Management Education and Development’.

While at Monash University, Irene has been awarded the Vice-Chancellor’s Award for Excellence in
Team-based Educational Development and the Business/Higher Education Round Table Award for
Outstanding Achievement in Collaboration with Industry.
Page xvi

ABOUT THE CONTRIBUTING AUTHORS

SONIA DICKINSON-DELAPORTE

Sonia Dickinson-Delaporte is an Associate Professor in the School of Marketing, and Dean of


Learning and Teaching in the Faculty of Business and Law at Curtin University, Western Australia.
She lectures in undergraduate and executive education courses with a focus on marketing
communications. She is a Curtin Academy Fellow, and her contribution to student learning is
recognised by the Australian Learning and Teaching Council (ALTC), where she was awarded a
Citation for Outstanding Contributions to Student Learning. Her contribution to the global
reputation of Curtin University is underpinned by her leading role in the creation of the world-class
teaching space, The Agency, together with her highly successful edX Digital Branding and
Engagement MOOC. Sonia is a member of the Journal of Marketing Communication editorial board
and her discipline research has been published in various Tier 1 ERA-ranked journals. Her areas of
research interest include communication and society, participatory communication and technology-
facilitated student engagement.

LOUISE KELLY
Louise Kelly is a Senior Lecturer at the Queensland University of Technology Business School. She
has combined a love of advertising and media, and pursues studies in marketing and advertising to
further her teaching in all areas of advertising, media and digital marketing.

Louise’s research focuses on online privacy, social media, digital disruption and innovation and
consumer behaviour, with the aim of providing students with both an academic and ‘real world’
industry perspective. She has presented her research findings at a number of national and
international conferences and is a member of the Australian and New Zealand Academy of
Advertising and the American Academy of Advertising. She has received several university awards
for her teaching and has been recognised as a Senior Fellow of the Higher Education Academy.

AMISHA MEHTA

Associate Professor Amisha Mehta specialises in public relations and risk and crisis communication
at the Queensland University of Technology Business School. Amisha currently co-leads a risk and
warning communication research program for the Bushfire and Natural Hazards Cooperative
Research Centre to examine how to build trust and enhance community actions during the
response phase of natural hazards. She teaches crisis communication at postgraduate and
executive levels and public relations planning at the Queensland University of Technology Business
School. Amisha has a research track record in both public relations and risk and crisis
communication, comprising industry reports and peer-reviewed publications. She is a member of
the Advisory Panel for the Office of the Inspector General for Emergency Management. Amisha has
received a number of individual and team awards for teaching and research engagement from
university, industry and national organisations, including an Australian Award for University
Teaching Citation.
Page xvii

ROB HUDSON

Rob Hudson brings 25 years of experience in business transformation through creativity and
technology. He worked in digital in the UK before moving to Australia in 2006 to be Digital Director
of George Patterson Y&R. He worked as Chief Digital Officer of VMLY&R for five years, before taking
the reigns as Managing Director. He then joined Clemenger BBDO as Managing Director in 2016.
During that time, he has won awards for both creativity and effectiveness at Cannes, DA&D,
AWARD, Effies and Spikes. Rob continues to provide inspiration for students at QUT with his
engaging presentations and unique way of looking at, and solving, advertising challenges.

RHYS AMERY

Rhys Amery has always loved solving puzzles, which perhaps explains his decision to study
Interactive Entertainment at the Queensland University of Technology. His first job was in a
computer games company, creating games and sharing his knowledge with high-school students in
an embedded work-integrated-learning unit. Rhys then moved into an SEO role at Resolution Media
in Brisbane, discovering how search could provide answers to clients’ business problems. He moved
to London and worked as Owned Media Manager at iProspect for two years, providing search
strategies for brands such as the UK Post Office. Returning home to Australia, Rhys joined an
independent ROI-driven agency in a role that spans SEO, paid search, CRO and client and agency
management. Solving puzzles is something Rhys does, and still enjoys, every day.
Another random document with
no related content on Scribd:
hellä ja liikuttava teidän keskinäinen suhteenne oli, ja kun toiselta
puolen teidän omat lausuntonnekin monasti kuvastavat enemmän
kuohuvaa mielen tilaa kuin malttia ja tyyntä mietiskelemistä. Kukapa
ei huomaisi, että harkittu perustelu vähemmän kuin aikaisempi
ennakkoluulo sai teidät niin väärin tuomitsemaan tytärtänne ja heitti
teidät oman mielikuvituksenne suruihin? Huuto käy idästä länteen, ja
se huuto oli tunkeutunut teidänkin korviinne. Lahkolaisuuden ja
eksymyksen henki on irroillaan ja levittää ruttoaan, minne vain tulee
— niin huudetaan, ja kaikki kauhistuvat ja vapisevat ja rakentavat
suoja-aitaa, minkä suinkin voivat, itselleen ja omaisilleen. Mutta se ei
auta: "tuuli käy kussa hän tahtoo"; ja heidänkin joukostaan voi löytyä
joku, joka ei paaduta itseään kuulemasta kehoittavaa ääntä,
Jumalan herättävää ääntä hänen sisimmässään. Hän tunsi kauvan
kaihoa, jota hän itse ei ymmärtänyt; ehkä hän sattumalta tapaa
jonkun, joka on kokenut samaa, mutta on löytänyt rauhan, löytänyt
sen kalliin helmen, ja on Jumalan vahvalla perustuksella; totuuden,
lohdutuksen ja rauhan sanat voittavat jalansijaa kaihoavan
sydämessä, ja hän iloitsee siitä, että hänellekin on koittanut valkeus.
Niin herää hän uuteen elämään, tulee uudeksi ihmiseksi ja lausuu
lähimmälle ystävälleen toisellaisia sanoja kuin koskaan ennen — ja
heti hän on saastutettu, kadotettu, pois sysätty ja häntä surraan kuin
kuollutta! Ettekö tästä tunne itseänne, ystäväni, tai eikö monen täydy
tuntea itseään tästä, monen, joka, tuntematta asian sisällistä laatua,
muutamista heille vastenmielisistä ilmauksista, tai kenties jostain
tilapäisestä erehdyksestä tuomitsee koko jumalallisen asian
hyljättäväksi ja vahingolliseksi, eikä tässä varmassa vakaumuksessa
emmi turvautua mitä mustimpiin ja luonnottomimpiin valheisiinkin
tehdäkseen asian vielä vihattavammaksi!

Myöskin näytte te toden teolla pysyvän siinä mielipiteessä, että


teidän tyttärenne kuihtuminen ja kuolema oli välttämätön seuraus
hänen hengellisistä suruistaan — mielipide, jonka olen kuullut
sanottavan myöskin muista, mutta jota en ole voinut hymyilemättä
kuunnella. Vaikka olisi sattunutkin, että joku ihminen heti
käännyttyään olisi kuollut — ja miksi ei sitä olisi voinut sattua silloin,
samoin kuin muulloinkin? — niin tahdotaan erittäin mieluusti pitää
aivan varmana sitä, että "surulliset ajatukset ovat hänet tappaneet",
niin joudutaan siihen ja pidetään varmana, että hengelliset surut ovat
syynä hänen kuolemaansa, mutta ei ajatella, että mahdollisesti olisi
päinvastoin, että juuri hänen pikainen kuolemansa olisi voinut
myöskin olla syynä heränneeseen huoleen, ja että Jumala sitä
enemmän ja voimakkaammin olisi koettanut herättää häntä, koska
hän näki, että hänellä ei ollut pitkää aikaa jäljellä. — Mutta mitä?
vaikka minä kirjoittaisinkin kaikki ja niin paljon kuin tahtoisin, niin
tiedän kyllä, että minun sanani eivät teissä voi mitään vaikuttaa, eivät
voi teitä saada luopumaan ajatuksestanne ja vakaumuksestanne
muuten, kuin että säde Jumalan taivaallisesta valosta tunkee
sieluunne ja avaa sen totuudelle. Näitä asioita ei voida niinkuin
esimerkiksi muutamia filosofisia totuuksia ottaa, hyväksyä ja hyljätä;
valon täytyy tulla Jumalasta, ja ainoastaan nöyrä ja totuudelle avoin
mieli voi käsittää ja vastaanottaa sen. — Kohta on kuitenkin tämä
lyhyt, katoava elämä lopussa, ja silloin kai me saamme kaikki nähdä,
kuka on paremman osan valinnut, sekö, joka ainoastaan on elänyt ja
leikkinyt maan kuihtuvilla kukilla, vai se, joka on etsinyt ikuista,
katoamatonta aarretta tuolla ylhäällä. Nostakaa siis tekin vanhaa
päätänne ylöspäin, ystäväni; älköön teidän katseenne olko kiinnitetty
pimeään hautaan: teidän tyttärenne ei lepää siellä, vaan hän lepää
tuolla ylhäällä, Jumalan luona, ja löytäkää hänet sieltä!

P.S.
Koska minä tyytymättömänä ja kummastuksekseni huomaan, että
on luultu tarpeelliseksi vastoin minun tietoani ja tahtoani jättää minun
teille kirjoittamani kirjeet yleisön käsiin, ja koska pelkään, että moni
siitä häikäisevän runollisesta valosta, johon olette voinut pukea
asianne, kentiesi joutuisi harhaan ja eksyisi, niin aion pitää huolta
siitä, että myöskin tämä vastaus, niin järjestämättömänä ja
vaillinaisena, kuin te sen tässä näette, julaistaan edes heikkona
vastalauseena teidän totuuden asian vääristelyynne.

Jälkilause.

Tämä Lauri Stenbäckin runoelmani suomennos, ensimäinen


laatuansa, on tehty v. 1899 ilmestyneen, viidennen ruotsalaisen
painoksen mukaan (jättämällä pois muista kielistä käännetyt runot).
Eläessään oli runoilija itse toimittanut kolme painosta (1840, 1850 ja
1868); hänen kuolemansa jälkeen julkaistuista oli neljäs (1878) yhtä
pitävä edellisen kanssa, jota vastoin viides on lisäyksillä varustettu.
Nämä lisäykset ovat tässä suomennoksessakin luettavat Lopuksi oli
viimeiseen ruotsalaiseen painokseen liitetty muutamia tietoja tekijän
elämästä sekä yksityisistä runoelmista. Niitä ei ole käännökseen
otettu, koska professori Eliel Aspelinin kirjoittama runoilijan
täydellinen elämäkerta on valmistunut ja saatavissa. Nykyään se on
tosin vain ruotsinkielisenä kirjakauppaan ehtinyt, mutta ensi vuonna
se on suomenkielisessäkin asussa ilmestyvä.
*** END OF THE PROJECT GUTENBERG EBOOK RUNOJA ***

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.

You might also like