Advertising and Promotion Canadian 6th Edition Guolla Test Bank 2024 scribd download

Download as pdf or txt
Download as pdf or txt
You are on page 1of 26

Advertising and Promotion Canadian

6th Edition Guolla Test Bank


Go to download the full and correct content document:
https://testbankdeal.com/product/advertising-and-promotion-canadian-6th-edition-guol
la-test-bank/
More products digital (pdf, epub, mobi) instant
download maybe you interests ...

Advertising and Promotion Canadian 6th Edition Guolla


Solutions Manual

https://testbankdeal.com/product/advertising-and-promotion-
canadian-6th-edition-guolla-solutions-manual/

Advertising And Integrated Brand Promotion 6th Edition


Oguinn Oguinn Test Bank

https://testbankdeal.com/product/advertising-and-integrated-
brand-promotion-6th-edition-oguinn-test-bank/

Advertising and Promotion An Integrated Marketing 6th


Edition Belch Test Bank

https://testbankdeal.com/product/advertising-and-promotion-an-
integrated-marketing-6th-edition-belch-test-bank/

Integrated Advertising Promotion and Marketing


Communications 6th Edition Clow Test Bank

https://testbankdeal.com/product/integrated-advertising-
promotion-and-marketing-communications-6th-edition-clow-test-
bank/
Advertising and Integrated Brand Promotion 7th Edition
OGuinn Test Bank

https://testbankdeal.com/product/advertising-and-integrated-
brand-promotion-7th-edition-oguinn-test-bank/

Advertising And Integrated Brand Promotion 8th Edition


Oguinn Test Bank

https://testbankdeal.com/product/advertising-and-integrated-
brand-promotion-8th-edition-oguinn-test-bank/

Integrated Advertising Promotion and Marketing


Communications 8th Edition Clow Test Bank

https://testbankdeal.com/product/integrated-advertising-
promotion-and-marketing-communications-8th-edition-clow-test-
bank/

Integrated Advertising Promotion and Marketing


Communications 7th Edition Clow Test Bank

https://testbankdeal.com/product/integrated-advertising-
promotion-and-marketing-communications-7th-edition-clow-test-
bank/

Advertising and Promotion An Integrated Marketing 4th


Edition Belch Test Bank

https://testbankdeal.com/product/advertising-and-promotion-an-
integrated-marketing-4th-edition-belch-test-bank/
MULTIPLE CHOICE. Choose the one alternative that best completes the statement or answers the question.

1) An advertising execution technique that relies on a straightforward presentation of information


concerning the product or service is called a(n):
A) animation execution B) straight-sell execution
C) dramatization execution D) demonstration execution
Answer: B

2) Straight-sell message executions are commonly used with ________ advertising appeals.
A) teaser B) transformational C) emotional D) rational
Answer: D

3) When an advertiser cites technical information such as the results of laboratory studies in an
advertisement, a(n) ________ execution is being used.
A) dramatization B) animation
C) scientific/technical evidence D) testimonial
Answer: C

4) An ad for Lipton tea states that according to laboratory research, "a serving of tea has more
antioxidants than a serving of carrots or broccoli." Which type of ad execution is being used in this
example?
A) Testimonial B) Scientific/technical evidence
C) Comparison D) Dramatization
Answer: B

5) Which of the following is an advertising execution approach designed to illustrate key advantages or
features of a product by showing it in actual use?
A) Demonstration B) Comparison
C) Scientific evidence D) Straight-sell
Answer: A

6) An ad for the Dodge Caravan shows how effectively the minivan handles the requirements of a
family on the go. Which ad execution technique is being used in this ad?
A) Straight-sell B) Demonstration
C) Scientific evidence D) Comparison
Answer: B

7) When a person speaks on the behalf of a product or service based on his or her personal use of
and/or experiences with it, a ________ execution is being used.
A) testimonial B) dramatization C) demonstration D) slice-of-life
Answer: A

1
8) Skier Tommy Moe appears in ads for Dynastar skis in which he notes how the company's Coupe S
Super Sidecut model helped him win the gold medal in the downhill race at the Winter Olympics.
This is an example of which type of advertising execution?
A) Testimonial B) Slice-of-life
C) Scientific evidence D) Demonstration
Answer: A

9) In a television ad, actress and noted animal lover Betty White praised a flea and tick treatment called
Frontline for the way it protected both her dogs and cats. These ads are an example of the use of
what type of execution?
A) Slice-of-life B) Testimonial C) Humour D) Demonstration
Answer: B

10) A television ad features a brand's particular advantage over its competitors. This is an example of a:
A) demonstration B) comparison C) straight sell D) dramatization
Answer: B

11) A widely used advertising execution style for packaged-goods products which attempts to portray a
situation consumers might face in their daily lives is known as:
A) dramatization B) a demonstration C) peace of mind D) slice-of-life
Answer: D

12) A Tide detergent ad showing how a high school team manager easily removed all the grass and dirt
stains from two dozen or more baseball uniforms by simply throwing them in a washer and adding
Tide. The ad creator used which execution style?
A) Dramatization B) Testimonial C) Demonstration D) Slice-of-life
Answer: D

13) Which of the following statements about the use of slice-of-life executions is NOT true?
A) Slice-of-life executions are sometimes criticized for being unrealistic and irritating.
B) Slice-of-life executions often present a problem consumers encounter and suggest a solution.
C) Slice-of-life executions have also been used in ads for financial institutions that try to show
how their products and services can allow a customer to reach their future aspirations.
D) Slice-of-life executions feature a real person talking on the behalf of a product or service based
on his or her personal use of and/or experiences with it.
Answer: D

14) Which of the following is an example of an advertising personality symbol?


A) CelineDion B) William Shatner
C) Wayne Gretzky D) The Man from Glad
Answer: D

2
15) An ad shows dandruff on Jim's shoulder. He is rebuffed by his girlfriend. He then applies Head and
Shoulders, and his dandruff disappears. His girlfriend is attracted to him again. This is an example
of:
A) slice-of-life advertising B) demonstration
C) a response-stimuli execution D) testimonial
Answer: A

16) An advertising execution technique that is particularly popular for creating commercials targeted at
children is:
A) demonstration B) testimonial C) animation D) slice-of-life
Answer: C

17) Advertisements for M&M candy featuring various colours of the candy taking on human
personifications are examples of which type of creative execution?
A) Dramatization B) Animation C) Straight-sell D) Testimonial
Answer: B

18) Which of the following is an example of an advertising personality symbol?


A) Tiger Woods B) Shaquille O'Neal
C) Snap, Crackle, and Pop characters D) Michael Jordan
Answer: C

19) TheOld Spice Man is an example of advertising that uses which of the following advertising
execution techniques?
A) Imagery B) Demonstration
C) Personality symbol D) Testimonial
Answer: C

20) ________ is the way a message appeal is presented.


A) Creative execution style B) Creative theme
C) Message structure D) Creative structure
Answer: A

21) Which of the following is NOT a critical point of a message structure?


A) Verbal versus visual message characteristics
B) Message sidedness
C) Order of presentation
D) Body copy
Answer: D

22) Researchsuggests that Maytag's or Travelocity's employment of ________ is an effective tactical


element to ensure awareness.
A) imagery B) laboratory results
C) personality symbols D) demonstration
Answer: C

3
23) ________ is a type of advertising execution style that involves creating a central character who can
deliver the advertising message and with whom the product or service can be identified.
A) Slice-of-life B) Testimonial
C) Demonstration D) Personality symbol
Answer: D

24) ________ is an advertising execution technique where some ads contain little or no information
about the brand and are almost totally visual.
A) Slice-of-life B) Imagery C) Animation D) Demonstration
Answer: B

25) Timberland Co. sells all-weather gear. For its advertising, it has developed an imaginary place
called Timber Land, which is a utopian setting of extraordinary landscapes and crystal-clear water.
Its ads use a(n) ________ execution style to get the audience to envision themselves in Timber
Land.
A) imagery B) slice-of-life C) demonstration D) animation
Answer: A

26) A strong example of imagery execution style would be:


A) Mr. Clean helping to clean up a huge kitchen mess.
B) a prosperous looking gentleman in a high-end restaurant, wearing a Rolex watch.
C) a happy, active family going on vacation in a new Chevy van.
D) a dentist recommending Trident gum for his patients who chew gum.
Answer: B

27) Acommercial showing trucks and SUVs navigating tough terrain is an example of ________
advertising execution.
A) animation B) testimonial C) slice-of-life D) imagery
Answer: D

28) Marketers who rely on image executions have to be sure that the ________ with which they
associate their brand evokes the right feelings and reactions from the target audience.
A) dramatization B) location
C) usage or user imagery D) testimonial
Answer: C

29) Theprovince of New Brunswick wants to encourage Canadians to visit their beautiful beaches
during the summer. They want to give tourists the impression that a vacation in New Brunswick
would be an ideal, and idyllic, experience. The marketing team should consider a(n) ________
execution style.
A) dramatization B) imagery C) animation D) testimonial
Answer: B

4
30) ________ is an advertising execution technique whereby the focus is on using excitement and
suspense to tell a short story with the product as the star of the ad.
A) Dramatization B) Animation C) Imagery D) Slice-of-life
Answer: A

31) Which of the following statements about the dramatization execution technique is NOT true?
A) The dramatization execution technique often relies on the problem/solution approach.
B) The goal of the dramatization execution technique is to use testimonials to get the audience
involved in the advertising story.
C) The dramatization execution technique is similar to a slice-of-life execution but uses more
excitement and suspense.
D) The dramatization execution technique is particularly well suited to television.
Answer: B

32) Which of the following statements about the humourous execution technique is NOT true?
A) Humour used to garner attention without any direct brand connection is not as persuasive as
when used with brand linkages.
B) Humour can be combined with other executional techniques but should not counteract other
kinds of appeal techniques.
C) Humour can be effective across various mediums, such as TV, print, and even online.
D) Humour can be combined with other executional techniques for greater effectiveness.
Answer: B

33) Presenting the


strongest arguments at the beginning of the commercial message assumes a
________ is operating.
A) primacy effect B) recency effect C) sleeper effect D) credibility effect
Answer: A

34) Acommercial that places the strongest points at the end of the message assumes a ________,
whereby the last arguments presented are the most persuasive.
A) primacy effect B) recency effect C) sleeper effect D) credibility effect
Answer: B

35) An ad campaign to convince people to stop smoking uses three teens bungee jumping off a bridge.
When they reach the ground, each grabs a can, opens it, and takes a drink. As the third person takes
a drink, the can explodes and kills him. The final screen reads, "No other product but tobacco kills
every third consumer." By placing the strongest point in the ad at the end, the ad's source is hoping
its message benefits from the:
A) primacy effect B) recency effect C) sleeper effect D) credibility effect
Answer: B

36) Research shows that items presented first and last are ________ than those presented in the middle.
A) likedbetter B) remembered better
C) understood better D) less effective
Answer: B

5
37) A marketer may not want to put weak arguments at the beginning of an advertising message because
this action may:
A) lead to a high level of counterarguing
B) deter recipients from drawing their own conclusions
C) increase retention of the message
D) reduce the level of counterarguing
Answer: A

38) A marketer may NOT want to use a message that draws an explicit conclusion for a target audience
if:
A) the audience is highly involved with the topic
B) the product is highly personal or involves ego issues
C) the message is high in complexity
D) the audience is highly educated
Answer: C

39) Which of the following statements about conclusion drawing is NOT true?
A) Messages with explicit conclusions are more effective in influencing attitudes.
B) Less educated people may make incorrect inferences from a message where a conclusion is not
stated.
C) Letting the customer draw their own conclusion should only be done when the marketer is
looking for immediate action from the target.
D) Whether to draw a conclusion for the audience depends on the complexity of the topic.
Answer: C

40) The manufacturer of Smucker's jams and jellies used the following slogan for years: "With a name
like Smucker's, it has to be good." The ad implies that the brand name is poorly chosen and is a
negative attribute that is overcome by the high quality of the product. This is an example of a:
A) two-sided message B) refutational message
C) confrontational appeal D) one-sided message
Answer: A

41) Most advertisers refuse to use two-sided messages because they:


A) are concerned over the negative effects of acknowledging a weakness in their brand
B) are concerned over presenting only the negative attributes of their brands
C) are concerned about the impact of a two-sided message on source credibility
D) have been proven ineffective by a number of different advertising research studies
Answer: A

42) When a target audience already holds a favourable opinion on a topic or issue a(n) ________ is most
effective.
A) one-sided message B) open-ended message
C) nonverbal appeal D) two-sided message
Answer: A

6
43) Recent television commercials for Buckley's Mixture invited consumers to "show us your Buckley's
face". Their contorted expressions conveyed the idea that Buckley's tasted awful, with the implied
suggestion that it was effective against coughs. This is an example of a(n):
A) one-sided message B) nonverbal appeal
C) two-sided message D) open-ended message
Answer: C

44) A one-sided message can be effective when:


A) the target audience is highly educated
B) a company acknowledges its shortcomings and communicates how it has improved
C) the target audience holds an opposing opinion
D) the marketer presents negative information involuntarily
Answer: B

45) Aspecial type of two-sided message is known as a(n) ________ message. The communicator
presents both sides of an issue and then shows the opposing viewpoint to be false.
A) rational B) emotional C) refutational D) nonverbal
Answer: C

46) Drawing a ________ in the message may make sure that the target audience gets the point the
marketer intended.
A) picture B) recency effect C) conclusion D) primacy effect
Answer: C

47) The visual portion of an advertisement may reduce its persuasiveness because:
A) processing stimulated by the picture may be less controlled and less favourable than the
processing stimulated by words
B) pictures are always low in imagery value
C) pictures may not attract attention to the product
D) verbal is always more effective than nonverbal communications
Answer: A

48) A study showed that the use of pictures providing examples increased message recall when:
A) the pictures attracted attention to the product
B) the consumer was loyal to a competing product
C) the verbal information was low in imagery value
D) the pictures were low in imagery value
Answer: C

49) Which of the following is a basic component of a print advertisement?


A) Slice of life B) Endorsement C) Testimonial D) Layout
Answer: D

7
50) ________ is the words in the leading position of an advertisement that are likely to be read first.
A) Primary copy B) Subheads C) Headline D) Body copy
Answer: C

51) Research has shown that the first thing people look at in a print ad is the:
A) visuals B) headline C) illustration D) body copy
Answer: B

52) Many advertising experts consider that the most important part of a print ad is the:
A) headline B) illustration C) layout D) body copy
Answer: A

53) Thefunction of a headline in a print ad is to do all of the following EXCEPT:


A) attract readers' attention
B) put forth the main theme, appeal, or proposition of the ad in a few words
C) lead readers to click on the link to the brand's website
D) perform a segmentation function by attracting the attention and interest of consumers who are
the best prospects for a product or service
Answer: C

54) Common types of ________ headlines include those offering a specific benefit and making a
promise.
A) rational B) direct C) indirect D) straight-sell
Answer: B

55) When an advertiser has something important or new to announce to a target audience, a(n)
________ headline will be used.
A) indirect B) direct C) affective D) visual
Answer: B

56) ________ headlines may be risky if the headline is not strong enough to get the reader to read the
body copy.
A) Indirect B) Rational C) Direct D) Straight-sell
Answer: A

8
57) Which of the following statements describes a potential problem associated with the use of indirect
headlines in a print ad?
A) Indirect headlines only work when readers are already interested in the product or service being
advertised.
B) Indirect headlines may not be provocative enough to get the readers' attention and offer a
reason for reading the remainder of the message.
C) Indirect headlines must always be accompanied by an engaging visual appeal in order to be
effective.
D) Indirect headlines rarely generate interest or curiosity and thus motivate the reader to become
involved with the remainder of the ad.
Answer: B

58) ________ are secondary headlines that usually appear in a type size smaller than the main headline
but larger than the body copy of a print ad.
A) Body copy B) Indirect headlines
C) Subheads D) Direct headlines
Answer: C

59) Aprint ad for Titleist golf balls uses the headline "Do you ever wonder why Mike Weir can hit a
golf ball so far?" This is an example of a(n):
A) question B) jingle C) direct headline D) indirect headline
Answer: D

60) ________ are the print ad components that are used to break up large amounts of copy and highlight
key selling points.
A) Headlines B) Subheads C) Layouts D) Illustrations
Answer: B

61) What is the main text portion of a print ad called?


A) Headline B) Layout C) Body copy D) Subhead
Answer: C

62) ________ is considered the heart of a print ad but is often difficult to get people to read.
A) The logo B) The subhead C) The body copy D) The headline
Answer: C

63) "The ________ must be long enough to communicate the advertiser's message yet short enough to
hold readers' interest."
A) body copy B) layout C) headline D) subhead
Answer: A

64) Thephysical arrangement of the various parts of an ad including headlines, subheads, illustrations,
body copy, and identifying marks is known as:
A) visualization B) the layout C) art direction D) copy writing
Answer: B

9
65) The ________ portion of an ad must attract attention and work in a synergistic fashion with the
headline and body copy to produce an effective message.
A) subheads B) jingles C) trademarks D) visuals
Answer: D

66) Standard poster format, portrait orientation, landscape orientation, vertical or horizontal splits are all
terms used to describe:
A) trademarks B) subheads C) layouts D) illustrations
Answer: C

67) The audio portion of a commercial is often presented through the use of a(n):
A) illustration B) headline C) voiceover D) layout
Answer: C

68) On a cost-per-minute basis, ________ messages are the most expensive messages to produce.
A) video B) print C) celebrity D) audio
Answer: A

69) A recent trend among major advertisers is to have ________ do the voiceovers for their
commercials.
A) people with accents B) singing groups
C) celebrities with distinctive voices D) everyday people
Answer: C

70) It is important for marketers to carefully select actors for audio and video messages because:
A) overexposure of the celebrity can strongly enhance the brand's message.
B) celebrities may require more money than the commercial is projected to bring in.
C) incorrect associations may be made if the audience recognizes the celebrity from another ad.
D) visuals may not match the voices of the actors.
Answer: C

71) Some marketers have moved to using ________ which is a lower-cost and highly engaging way to
show regular people interacting with the brand.
A) reality-type filming of customers in purchase and consumption situations
B) still photos
C) consumer-generated ads
D) lesser-known actors
Answer: A

72) ________ is an occupational term in the advertising and music industries that refers to
prefabricated, multipurpose music that is often used as the background audio portion of a
commercial.
A) Needledrop B) Jingle C) Stock music D) Voiceover
Answer: A

10
73) The function of music in a commercial is to do all of the following EXCEPT:
A) help establish or communicate a key selling point
B) showcase a famous music artist
C) create a mood state that will make consumers more receptive to the message
D) provide a pleasant background for the message
Answer: B

74) ________are catchy songs about a product or service that usually carry the advertising theme and a
simple message.
A) Theme songs B) Needledrops C) Jingles D) Voiceovers
Answer: C

75) "You always have time for Tim Hortons" is an example of a:


A) catchy jingle B) voiceover C) needledrop D) subhead
Answer: A

76) A written version of a commercial that provides a detailed description of its video and audio content
is known as a:
A) storyboard B) voiceover C) layout D) script
Answer: D

77) A series of drawings used to present the visual plan or layout of a commercial is known as a:
A) script B) storyboard C) layout D) voiceover
Answer: B

78) A________ is a written version of a video message that provides a detailed description of its video
and audio content.
A) storyboard B) concept C) layout D) script
Answer: D

79) During which stage of the commercial production process do cost estimating, casting, location
selection, and selecting a director occur?
A) Preparation B) Production C) Preproduction D) Postproduction
Answer: C

80) During which stage of the commercial production process do activities such as editing, recording of
sound effects, audio/video mixing, and agency approval occur?
A) Postproduction B) Preparation C) Production D) Preproduction
Answer: A

11
81) Each of the following statements describes microfilm advertising EXCEPT:
A) It is used to motivate online viewing, discussion and distribution, and is intended to persuade.
B) A shorter version of video messages emerged due to social media and the sharing of video
messages online.
C) The inverted U-shaped relationship with purchase intent suggests that brand identification
should come before the entertainment, and not after.
D) It is important that viewers enjoy the story, as this will motivate them to forward it, and it
strengthens brand attitude.
Answer: B

82) Historically,
radio has been referred to as:
A) a low-budget alternative to television
B) appropriate for local audiences only
C) a cost-effective way to deliver technical information
D) the theatre of the mind
Answer: D

83) Which of the following is true about audio messages?


A) Brands employ unique sound effects to allow the visual to take hold in the receiver's mind.
B) Jingles work best when they are introduced in a video ad first, before translating it to an
audio-only format.
C) Music is not as much of a key component in audio messages, as it can muddle the meaning of
the message.
D) The voiceover speaker or actors should maintain an even tone to ensure comprehension.
Answer: A

84) The R&P planning model argues that ________ is a necessary precursor to ________.
A) brand exposure; behaviour change B) brand awareness; brand attitude
C) previous purchase; brand satisfaction D) creativity; ad recall
Answer: B

85) According tothe R&P planning model, in order for ________ to be fully established, the target
audience needs to understand how and why the brand exists (i.e. the message context).
A) brand awareness B) purchase intent C) ad recall D) brand loyalty
Answer: A

86) Which of the following is NOT one of R&P's suggestions regarding building brand awareness
through recognition and recall?
A) The primary benefit claim in the ad should be lengthy in order to be easily understood.
B) A bizarre or unusual execution style can be used if it is consistent with the brand attitude
objective.
C) A jingle or similar memory tactic should be included.
D) The brand and the category need should be connected in the primary benefit claim.
Answer: A

12
87) TheR&P view of consumer attitudes is framed as a planning grid, with dimensions representing
________.
A) brand recall and attitude B) affective and cognitive response
C) satisfaction and purchase intent D) involvement and motivation
Answer: D

88) Each of the following is a source of guidelines for the emotional portrayal of motive found in the
creative tactics suggestions of the R&P planning model EXCEPT:
A) execution style B) authenticity
C) like ad D) intensity of benefit claim
Answer: D

89) Each of the following is a source of guidelines for the benefit claim of the brand message found in
the creative tactics suggestions of the R&P planning model EXCEPT:
A) intensity of benefit claim B) information of benefit
C) repetition of benefit claim D) number of benefits
Answer: B

90) Which of the following criteria are advertisers less likely to use in evaluating the creative work of
their agencies?
A) Appropriateness for the target audience
B) Likeability of the message
C) Consistency with the brand's marketing and advertising objectives
D) Appropriateness for the media
Answer: B

13
Answer Key
Testname: UNTITLED8

1) B
2) D
3) C
4) B
5) A
6) B
7) A
8) A
9) B
10) B
11) D
12) D
13) D
14) D
15) A
16) C
17) B
18) C
19) C
20) A
21) D
22) C
23) D
24) B
25) A
26) B
27) D
28) C
29) B
30) A
31) B
32) B
33) A
34) B
35) B
36) B
37) A
38) C
39) C
40) A
41) A
42) A
43) C
44) B
45) C
46) C
47) A
48) C
49) D
50) C
14
Answer Key
Testname: UNTITLED8

51) B
52) A
53) C
54) B
55) B
56) A
57) B
58) C
59) D
60) B
61) C
62) C
63) A
64) B
65) D
66) C
67) C
68) A
69) C
70) C
71) A
72) A
73) B
74) C
75) A
76) D
77) B
78) D
79) C
80) A
81) B
82) D
83) A
84) B
85) A
86) A
87) D
88) D
89) B
90) B

15
Another random document with
no related content on Scribd:
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