Strategic Management Text And Cases

6th Edition Dess Test Bank

Visit to download the full and correct content document:
https://testbankdeal.com/download/strategic-management-text-and-cases-6th-edition-
dess-test-bank/
Strategic Management Text And Cases 6th Edition Dess Test Bank

Chapter 02 - Analyzing the External Environment of the Firm

Chapter 02
Analyzing the External Environment of the Firm

True / False Questions

1. Environmental scanning and competitor intelligence provide important inputs for

forecasting activities.
True False

2. Environmental monitoring deals with tracking changes in environmental trends that are
often uncovered during the environmental scanning process.
True False

3. Competitor Intelligence (CI) is a tool that can provide management with "early warnings"
about both threats and opportunities.
True False

4. Competitive intelligence generally does not benefit very much from gathering information
on competitors from sources in the public domain.
True False

5. Even with all of the advances in recent years, forecasting is typically considered more of an
art than a science and it is of little use in generating accurate predictions.
True False

6. Scenario planning is usually concerned with short-term forecasts.

True False

2-1

Visit TestBankDeal.com to get complete for all chapters

Chapter 02 - Analyzing the External Environment of the Firm

7. Although changes in the general environment may often adversely or favorably impact a
firm, they seldom alter an entire industry.
True False

8. The same environmental trend can often have very different effects on firms within the
same industry.
True False

9. A major sociocultural trend in the United States is the increased educational attainment by
women.
True False

10. Technological innovations can create entirely new industries and alter the boundaries of
industries.
True False

11. There is generally a weak relationship between equity markets (e.g., New York Stock
Exchange) and economic indicators.
True False

12. The Internet provides an electronic "staging area" for several forms of digital
communications.
True False

13. Porter's Five-Forces model is designed to help us understand how social attitudes and
cultural values impact U.S. businesses.
True False

2-2
Chapter 02 - Analyzing the External Environment of the Firm

14. Porter's Five-Forces model helps to determine both the nature of competition in an
industry and the industry's profit potential.
True False

15. In some industries, high switching costs can act as an important barrier to entry.
True False

16. Industries characterized by high economies of scale typically attract fewer new entrants.
True False

17. The power of a buyer group is increased if the buyer group has less concentration than the
supplier group.
True False

18. Buyer power tends to be higher if suppliers provide undifferentiated or standard products.
True False

19. Supplier power tends to be highest in industries where products are vital to buyers, where
switching from one supplier to another is very costly, and where there are many suppliers.
True False

20. The power of suppliers will be enhanced if they are able to maintain a credible threat of
forward integration.
True False

21. The more attractive the price/performance ratio of substitute products, the more tightly it
constraints an industry's ability to charge high prices.
True False

2-3
Another random document with
no related content on Scribd:
the watch were the sun, the migrating birds and some dolphins in the
water.
Towards two o’clock I received the sudden news of the death of a sailor
on board. The news tore me from my peaceful mood. I know that in this
far place the death of one man does not count, especially when one is
acquainted with that man only by a number. Yet I could not refrain from
a certain melancholy, and the train of my reveries became somber. You
poor little sailor, who has given up his life in this iron prison, where will
be your grave? The perfumed rocks of Greece, or the sands of Apulia, or
a shroud in the Ionian deeps? Wherever it be, no hand will ever strew
flowers on your white wooden cross, and those who write you to-day
perhaps will not know to what part of the vast world they should direct
their tears.
To the end of my watch I keep thinking of this destiny of the sailors, who
do not even halt to die. Around me the faces of the lookouts and gunners
show the same aspect of gravity which mine should have. This morning,
it seems to me, touches us more than it should. Is there not going on
somewhere a drama much more terrible?
In order to banish such reflections, I go to look in my cabin for my little
dog Jimmino, with his cold nose, his soft eyes and silky hair. Since my
last stay in Malta, he has exchanged the ease of his mistress’ home for
the hard existence of a ship. At night he sleeps in the hollow of my
shoulder, and when he wakes, he watches my slumber without stirring.
When I work, he whines softly until I lift him up on my desk. He puts his
head between his paws, and follows the course of my pen. He does not
like me to remain too long without speaking to him, for I think he is of a
jealous temperament. In order to let me know he is there, Jimmino rises
and walks across my pages where his paws trail thick threads of ink.
Then I give him a little tap on his cold nose and scold him:
“Get away, you horrible, badly brought up little thing! What would your
mother say if she...”
“Well, well,” replies the little tail as it wags. “You have spoken, silent
master, and you have struck me; so you must love me. I am not vexed
with you any more.”
Jimmino lies down again within reach of the paper, his nose so near the
sheets that at the end of every line I feel his warm breath on the back of
my fingers. He watches my bent head, and thinks:
“I know very well you are bored, and that you brought me with you to
distract you. I am very happy when you deign to think of me. But do you
suppose that I am amused? Formerly, I played with the cat, on the stairs,
under the furniture, and around the kitchen. Everything smelt good all
around, and they washed me every morning. Here everything is full of
coal and bad odors. The moving sea makes me dizzy. And then I have
become the dog of an officer, and cannot go with the crews’ pets. What
have I done that you should exile me? Listen to me, silent master. Speak
to me.”
The paw stretches out cautiously to the edge of my freshly written line.
“Back, Jimmino! You will make a bad blot!”
The paw draws back.
“Bah! You are right,” the master goes on. “It is late. In a quarter of an
hour we shall eat. Come up on the bridge. We will take the air.”
I take Jimmino, warm and soft, up on my shoulder, where he weighs
nothing. He settles himself, snuggles against my ear which he tickles. He
trembles at my rapid course along the corridors, up the companion ways,
to the height of the bridge.
The twilight is marvelous with its soft and delicate shades of color.
“What news?” I say to the officer of the watch.
“Nothing.... The same old story.”
“Any interesting messages?”
“None! Communiqués from Eiffel, Norddeich, Poldhu. The cruisers have
nothing to say. Go read the memorandum.”
I hasten to read the book of telegrams, glancing over the hundred or two
hundred messages of the day. It is the same strain as yesterday, and as it
will be to-morrow. “Left Navaria at 2 . .,” says this one. “I count on
finishing coaling this evening,” says another. “I am on my way to
Bizerta,” says a third, and so on for four pages.
“Well,” says the officer of the watch. “You see there is nothing.”
“It’s queer. The Gambetta has not spoken to-day.”
“There was probably nothing to announce.”
“It should have signaled its daily position this morning.”
“Wireless damaged perhaps.”
“Perhaps. All the same it has said nothing since 9 o’clock last night.”
“Have any of the cruisers called her?”
“Yes! And she has not responded.”
“You are sure?”
“Go and see. I will watch in your place.”
Five minutes later my comrade returns, after running over, examining
and considering the four pages of messages.
“You are right,” he says. “It is strange. However, nothing has happened
to her. She would always have had time to signal S. O. S. That doesn’t
take two seconds.”
“That’s true. But all the same, she should have replied to the ships that
called her.”
“She was wrong. We shall see to-morrow.”
I go down to dinner. On my chair Jimmino, crouched like a sphinx, is
waiting for bits from my meal. Our assembly is not very noisy. We
comment upon the end of the day, and the doctor receives placidly the
usual pleasantries. The conversation turns listlessly on Turkish affairs.
Why is there no animation? The officers who are going to take the watch
rise to put on their uniforms for the night. We greet them in the familiar
way as they pass out. “A good watch to you, old man! Keep your eyes
open!” “Don’t delay us!” “You know I’m taking the Paris express this
evening.” “If you see a submarine try not to waken me.” “And then,” I
added, “let me know if there is a message from the Gambetta.”
“Why?”
“She has not spoken for nearly twenty-four hours.”
“The deuce!” murmured the assembly. “What has happened to her?”
The game tables are set up, for dominoes, chess, bridge; the smokers
light their pipes; the readers open their paper; others stretch out on the
cushions. Interpretations are offered concerning the silence of the
Gambetta.
“Accident to the wireless....”
“She had nothing to say....”
“She ought to have signaled her daily position....”
“She should have replied when she was called....”
“We shall see to-morrow...!”
The cards fall, the dominoes grate, the newspapers crackle, and the pipes
pull. All in this little world are silent, absorbed in their game, their
reading or their reveries. But it is appearance only. Yesterday afternoon
we talked with the Gambetta; last night she cruised in the sector where
we were to go. For twenty-four hours she has been silent. In the cards, in
the papers, and the smoke from the pipes, each one of us reads these
disquieting thoughts. But no one speaks of it. I go to bed, for I have to
take the watch again in the middle of the night.
Jimmino trots behind me, installs himself near the pillow, and sleeps
with a dreamless slumber. But I await through the long hours some news
of the Gambetta. Eyes closed or open, I cannot escape being haunted by
her. All my comrades tell me they have passed a sleepless night.
In the shadow I go up to take the watch. My predecessor repeats the
sacred phrases. I interrupt him:
“But the Gambetta?”
“Nothing.”
“What do you think of it?”
“Nothing.”
“Do you believe that...?”
I dare not finish. He dares not answer, but disappears in the darkness.
I fix my eyes on this treacherous sea which never gives up its secrets. An
anguish with iron fingers presses my heart. There is no more doubt of it,
death has passed over one of our brothers. Each hour that slips by proves
the magnitude of the disaster, and if no news ever reaches us, it will be
because all at one stroke eight hundred men will have plunged into the
sea. Leaning on the rail, I stroke the metal mechanically, and the wood
and canvas which meet my hand. I enjoy feeling the good cruiser, alive
and in motion, quivering under me. I realize how much I love her, and it
seems to me, that in order to pierce the darkness, my eyes take on the
acuteness of a father’s who scans the face of a child of his that is
menaced by death.
A little later our wireless operator sends me a bundle of messages. With
nervous fingers the ensign translator turns over his codes and dictionaries
in order to transform these ciphers into French. Each minute I go to his
shoulder to read the line, or the half-line, or the word he has transcribed.
Heavens! How long it takes to spell out the horror!

It happened yesterday evening, during that fatal watch which I found so

beautiful. The moon was quite round; the sea was transparent, and I saw
nothing on it. Like me the officers on watch on the Gambetta were weary
of their useless vigil; at the end of their route they saw the gleam of the
lighthouse at Santa Maria di Leuca. In the distance passed the shadows
which I should have seen if the Waldeck-Rousseau had cruised in the
sector which it was to have had. These shadows were ships going along
the Italian coast.
But another shadow, covered by the water, had been on watch for many
days. It knew we were going by way of the Strait of Otranto. Advised by
its accomplices, it awaited, motionless, the occasion for striking a
decisive blow. For three nights, for four nights, the majestic cruisers
passed too far from this shadow submarine, from this octopus with
deadly tentacles. The moon, as it approached its full glory, became more
and more luminous.
During these splendid hours, when I had almost disrobed to feel the
caresses of the night near me, the submarine saw approaching a slowly
moving vessel, with four stacks and graceful outline. It made ready, as it
had the night before and the night before that, and hoped that the ship’s
present route would permit it to cast its death thrust.
What pen could describe this drama in all its fullness?
On the Gambetta, sailors and officers scanned this sea that was almost
too bright; they had seen it raging or seething with billows, or tormented
by the wind, or calmer than a sleeping eyelid. It was the ninth month!
Flashes of lightning dazzled their eyes, and they moved, like the
watchers on the Waldeck-Rousseau, in a confusion of gleams and
darkness. It was the two hundredth night! They were weary. They had
waited so long, they no longer expected anything. Their eyes met only
illusion.
The submarine lay in wait in the bosom of the waves. It knew that some
time or other its wonderful prey would pass within range of its torpedo.
Through the lens of the periscope its commander saw the luminous circle
where the moon danced, the surface of the mirrored water, and the
phantoms which move in a night at sea. He heard on the submerged hull
the lapping of the dark waves. All the sailors at their posts watched the
gesture of his hand and the sound of his voice.
Suddenly this man’s heart began to beat as if it would burst. God of
death, you were speaking in his ear! He had just seen in the funnel of his
periscope two masts and four stacks. She rose in the midst of the
lightning flashes, a phantom. Tense and still, the man asked himself if
the vision would approach, or would vanish as on the preceding nights.
She approached. She came, a vagabond, predestined, without knowing
that a demon was plotting her death. With closed lips and moist hands,
this man prepared his words. Twenty-five men watched him as if he were
a destroying angel.
At the given moment he said: “Fire!”
The torpedo left the submarine like a breath in the water and as silently.
For a few seconds, a few endless seconds, it rushed through the echoless
water. Two flashes, three flashes, gleamed in the sky; the lookouts on the
Gambetta covered their faces with their hands. They did not suspect that
this moment, which followed so many other moments, held in it the last
breath they would draw.
Then a dull sound behind her made the cruiser tremble. She was seized
with a sudden fever, and each of her metal plates resounded. Death
spread through her limbs and muscles. In through a breach in her very
heart rushed the dark water, leaped and broke everything before it. What
happened then?
I do not know. I do not yet know. But some of the messages make it
possible to imagine the details of the horror.
Filled with water on her wounded side, the Gambetta, lurched toward her
sea grave, and the sailors who were not killed at once thrust out their
arms to save themselves. Everything slid around them. To stand upright
they had to lean over; their hands had to serve them for eyes, for
darkness enveloped the cruiser. Naked and silent they rushed on toward
the deck, but the slanting companion ways were now as perpendicular as
walls. How many unfortunates perished in their suddenly interrupted
sleep, without realizing that their ship was going down for the last time?

On the deck, a black chaos! Each second the cruiser sinks deeper. The
gulf of the waves grows larger, and each moment perhaps will be the
final plunge. By main force the sailors launch the boats and the cutter,
which drop into the water wrong side or right side up. The officers are
calm and have put aside their fatigue; they give the necessary orders for
the rescue. In the sky the two masts and the four stacks sink lower and
lower. The cruiser, with its apparatus damaged, can send out no signal
for help, and all those who dwell on her plunge into the depths as if
down a silent stair.
A handful of men have been able to enter the boats. Chilled, but
struggling for life, they have taken the oars, and during the last hours of
the night have rowed towards the friendly lighthouse. At the first gleam
of day, with bleeding hands, but with a marvelous tenacity of will, they
have made a supreme effort, and the Italian customs-officers take in sixty
exhausted men almost at the point of death.

From Tarentum to Rome, from Rome to Paris, from Paris to Malta, and
from Malta to the Waldeck-Rousseau, this story of the drama has been
traveling for twenty-four hours. The good neighbor we loved to see in
our meetings on the high sea has met the death which might have been
our own. She has disappeared without a word, felled at the first stroke in
an eddy of the sea, as befalls her pilgrims. The wound was muffled and
dumb, for over there on the horizon I saw nothing. One of the flashes
that played in the sky was perhaps the gleam of the torpedo which killed
her, but I was deceived by the illusion of distance.

Without mourning or benediction they laid their bodies in the cemetery

of the sea. From Admiral to midshipmen, all the officers are buried in
this sea, at once so maternal and malevolent. The superhuman souls of
these officers attempted the impossible. They wished to save the cruiser,
and the cruiser went down. They wished to save the men, and it is not
their fault that nearly eight hundred sailors perished.
And then, according to that law of the sea which ordains that the officer
shall wait until the last sailor is saved, they went down with their ship.
The ignorant will criticize them, but they are wrong. If each Frenchman,
in civil or military service, performs to the uttermost the task his country
demands of him, his country, with a heave of her shoulders, will chase
the Germans out of France.
Officers of the Gambetta, you have your place in the paradise of “la
Revanche.”
FINIS.
 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 VAGABONDS
OF THE SEA ***

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.