Interdisciplinary Research Process and

Theory 3rd Edition Repok Test Bank

Visit to download the full and correct content document:
https://testbankdeal.com/download/interdisciplinary-research-process-and-theory-3rd-
edition-repok-test-bank/
Interdisciplinary Research Process and Theory 3rd Edition Repok Test Bank

Allen Repko and Rick Szostak

Interdisciplinary Research, 3rd Edition
Chapter 2 Test Bank

1. A discipline’s __________ is the lens through which it views reality.

a. Objective
*b. Perspective
c. Concept
d. Method
Ans: B
Answer location: 31

2. Some disciplines are characterized by cognitive discord, meaning:

a. The space between the intellectual content of two or more disciplines
b. The agreement among a discipline’s practitioners over the defining elements of the discipline
c. The defining elements of a discipline
*d. The disagreement among a discipline’s practitioners over the defining elements of the discipline
Ans: D
Answer location: 34

3. A rule of thumb is to let the problem dictate which categories and disciplines within each category are
most relevant to it.
*a. True
b. False
Ans: A
Answer location: 38

4. ____________ are enduring aspects of human existence that are of interest to scholars and are
susceptible to scholarly description and explanation.
a. Theories
b. Attitudes
*c. Phenomena
d. Assumptions
Ans: C
Answer location: 39

5. Which of these is the correct order for the scientific method.

*a. Observation of phenomena, formulation of a hypothesis to explain the phenomena, use of the
hypothesis to predict the existence of other phenomena, execution of experiments to test hypothesis
b. Observation of phenomena, use of the hypothesis to predict the existence of other phenomena,
formulation of a hypothesis to explain the phenomena, execution of experiments to test hypothesis
c. Formulation of a hypothesis to explain the phenomena, observation of phenomena, use of the
hypothesis to predict the existence of other phenomena, execution of experiments to test hypothesis
d. Formulation of a hypothesis to explain the phenomena, use of the hypothesis to predict the existence of
other phenomena, execution of experiments to test hypothesis, observation of phenomena
Ans: A
Answer location: 63

6. Awareness of how epistemological choices tend to influence one’s selection of research methods that,
in turn, influence research outcomes, is referred to as:
a. The bedrock assumption
b. Epistemology

Visit TestBankDeal.com to get complete for all chapters

Interdisciplinary Research Process and Theory 3rd Edition Repok Test Bank

Allen Repko and Rick Szostak

Interdisciplinary Research, 3rd Edition
Chapter 2 Test Bank

*c. Epistemological self-reflexivity

d. Epistemic norms
Ans: C
Answer location: 51

7. What dominates the scholarly discourse within the disciplines and often drives the questions asked, the
phenomena investigated, and the insights produced?
*a. Theory
b. Methods
c. Research
d. Problems
Ans: A
Answer location: 60

8. A challenge of interdisciplinary integration is reducing conflict between insights by modifying their

concepts and/or assumptions.
*a. True
b. False
Ans: A
Answer location: 66

9. According to Repko, the source of all disciplinary elements:

a. Is but one element of a discipline
*b. Is the disciplinary perspective
c. Come from the discipline’s epistemology
d. Defines the discipline
Ans: B
Answer location: 31

10. The epistemologies of the social sciences:

a. Tend to embrace a single empirical process
b. Have little or no predictive power
*c. Generate knowledge with an ongoing interplay of values, theories, and empirical evidence
d. Offer a way to understand society by challenging all modernists views of subjective knowledge
Ans: C
Answer location: 46

Visit TestBankDeal.com to get complete for all chapters

Another random document with
no related content on Scribd:
dozen of the captured elephants which had been thoroughly pacified, and
headed by the bull-keepers, found the truants a full twenty-five miles
from town, and by mingling them with the passive beasts finally returned
them to the cars. After which another full three weeks passed in which
the elephants were missing from performance, followed by another
period of passivity.
This lasted, however, only until the show reached Bakersfield,
California, and a canvasman chased a frightened rabbit, which had
bobbed up about the show grounds, under the side walling and into the
menagerie tent. The rabbit went out the other side of the tent. So did
twelve of the parade elephants, wrecking everything from the menagerie
to the sideshow, and heading for an irrigation canal at the other end of
the lot. Here they were dragged from the water, the parade paraphernalia
muddy and ruined, and brought back to the picket line once more, where
they remained peaceful for a whole twenty-four hours. The next day, at
Santa Barbara, an agitator chirruped, the queer, almost bird-like call
which precedes a panic, and away they all went again! Some chose town
and the wrecking of fences and small buildings. Others made the outer
circle, disrupting the garden hopes of residents for weeks to come. Two
more made for the fish market and ruined it. Another struck an
automobile, wrecking it and injuring two persons. The remaining six of
the runaways, smelling the open water, made for the bay and hopelessly
mired themselves in the salt marshes, with the result that forty horses and
nearly three thousand feet of rope were required to pull each of them
from the mud.
That was too much. A few days later, at Tucson, Arizona, the bull cars
were run fifteen miles out of town, and the agitators were put to death.
All of which has its antithesis in another stampede which actually made
money. The gods sometimes favor even a keeper of the bulls, and such
was the case in the stampede of Old Mom’s herd at Idaho Falls.
The day had been hot. The elephants came out of the performing ring of
the matinée tired and “juggy,” as a bull-man terms lassitude, to be led
quite indifferently to a near-by irrigation ditch to drink. There, by their
straining against the elephant hooks, they indicated that a mere drink
would not satisfy.
“What’re we goin’ t’ do?” inquired an assistant as he scrambled at the
end of a bull-hook. “They want in an’ they’re goin’ t’ have in!”
“Hold them bulls!” came the curt reply of the keeper. “Sink that hook
deeper an’ hold them bulls.”
“What’s the matter?” It was a new voice. “They just want a swim, don’t
they?”
“Yeh.” The keeper touched his cap to the owner of the show. “Yeh—
that’s what they’re after.”
“Then why don’t you let ’em have it?”
“Afraid. Snake River’s just over this hump here, and they might make
for it. It’s deep an’ swifter’n ’ell. Been a half a dozen horses drowned
right here; nothing’s ever come out of it alive.”
“But,” argued the little owner, “that isn’t this ditch, is it? Why should
they want to go over to a river they can’t see when there’s all this water
right here?”
The keeper grinned in sickly fashion.
“You don’t know bulls. They’ll—”
“Quit your kidding. Let ’em go. The poor things are hot.”
“All right.” The keeper sighed—a sigh with a good-by in it. “You’re
boss. Hey, men! Turn ’em loose!”
There was a rush, a splash of water, then shining bulky forms that
flopped and scrambled out of the water at the other side of the irrigation
ditch. The herd, in its entirety, had smelled broader expanses of water,
and almost abreast they went for it, all but Old Mom, who trumpeted
wildly, who squealed and bellowed and roared, but who for a moment
remained alone. Even her faithful Frieda deserted her, running wildly
with Snyder and Trilby over the edge of the hump and sliding down a
declivity of solid rock into the raging waters of the Snake River rapids.
Behind them the two remaining members of the herd halted, stood a
moment in fear, then whimpering returned to the side of Old Mom, while
the circus owner, believing he had sent a valuable elephant herd to its
death, hurriedly decided to move elsewhere than within the range of the
baleful eye of the keeper of the bulls.
Down in the rapids, with its falls and dangerous suck holes below, the
three elephants floundered a moment, then splashed out in different
directions. Frieda, her common sense aroused at last, swam with all her
strength straight for the opposite shore, finally landing in safety just
above the falls. But Trilby and Snyder, forgetting the swiftness of the
current in their enjoyment of the water’s coolness, drifted lazily along,
until too late. A moment more and the hundreds of excited sightseers
who had gathered atop the banks saw the rolling, tossing, suddenly
frantic beasts plunge, over the falls and into the suck holes and
whirlpools beneath, from which no living thing ever had emerged.
By this time the owner was far away and seeking even more speed. A
man in an automobile hastened to overtake him and to break the news
that his elephants were in the Snake River death trap. He nodded glumly
and went on.
The elephants now were in a suck hole which formed the main
amusement of the boys of the town who, when the lure of other games
had faded, were wont to push large logs over the edge into the swirling
waters and watch them churned to bits by the fierce action of the boiling
waters. Trilby had vanished. Only the edge of Snyder’s trunk showed at
long intervals. Atop the bank the keeper of the bulls breathed another
good-by to two of his best elephants.
Then a shout. Fully three hundred feet below the suck hole Trilby,
immersed for what had seemed hours, had come to the surface and was
fighting valiantly toward shore. Finally she gained it, to crawl to a rocky
ledge, to stagger, then to fall exhausted. Five minutes later Snyder lay
beside her, equally fatigued. And there they remained, moaning with
almost human intonations, until their keeper, with Old Mom, came to
their rescue.
All through the town the word spread that a living thing—two living
things, in fact—had survived the death trap. The crowds gathered; it was
as though conquering heroes had returned from a war. The townspeople
even forgave Frieda and refused damages when it was learned that she
had ambled from her landing point to a livery yard and caused a panic
among the horses stabled there. That night the tents were unable to
contain the crowds that thronged to see the elephants which had braved
the whirlpools. And in the years to come, the simple announcement of
the coming of the circus was enough to insure the influx of thousands of
dollars, as long as it contained the assurance that the death-trap elephants
would be a part of the performance.
But such a happy thing as this in the life of a bull-keeper is almost too
good to be true. In the circus world the young man seeking adventure is
never told to go West, nor to become a prospector, nor to drive in motor-
car speed events, nor to aspire to the Northwest Mounties. It is merely
suggested that if he’s really in earnest and doesn’t care what happens, it
might be a good idea to learn the rudiments of being a keeper of the
bulls. After that if he isn’t satisfied he’s hopeless!
THE END
 UNDER THE BIG TOP

By COURTNEY RYLEY COOPER

Illustrated. Crown 8vo. Cloth. 238 pages.
“To any one who has ever thrilled over a circus, ‘Under the
Big Top’ should be a joy. Mr. Cooper knows his subject. He
writes of the circus, its pageantry and its romance, its
vicissitudes and its thrills, in a vivid, most entertaining
fashion.”—“F. F. V.” in The New York Tribune.
“Mr. Cooper gives no end of interesting information about the
circus. He has the dramatic instinct that both senses a good
story and tells it well, and so his little anecdotes are always
interesting, having point, punch, humor, pathos, human
appeal.”—The New York Times.
“There is so much genuine interest in Mr. Cooper’s book that
a detailed account of the subjects of which it treats is
impossible. His book is a compendium of information
concerning a subject on which there has always been a great
amount of speculation and curiosity, and it answers fully and
completely every question that can be asked about the
circus.”—The Philadelphia Public Ledger.
“Whenever the historian of the circus sits down to his task
and squares his elbows, he will need to have on his desk Mr.
Cooper’s ‘Under the Big Top.’ As an account of the circus as
it is, here and now, it is altogether satisfying.”—Brander
Matthews in The Literary Digest International Book Review.
“Taken all in all, ‘Under the Big Top’ is certainly one of the
most fascinating books of the season. It is that unusual type of
book that appeals to young or old, boys and girls, men and
women. It takes us to a strange world outside our own lives
and tells us about it interestingly and truly.”—The Detroit
Saturday Night.
Boston LITTLE, BROWN & COMPANY
Publishers
 TRANSCRIBER’S NOTES:
Obvious typographical errors have been corrected.
Inconsistencies in hyphenation have been
standardized.
Archaic or variant spelling has been retained.
 *** END OF THE PROJECT GUTENBERG EBOOK LIONS 'N'
TIGERS 'N' EVERYTHING ***

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.