Applied Statistical Inference with MINITAB Sally Lesik
1. Applied Statistical Inference with MINITAB Sally
Lesik pdf download
https://ebookfinal.com/download/applied-statistical-inference-
with-minitab-sally-lesik/
Explore and download more ebooks or textbooks
at ebookfinal.com
2. We have selected some products that you may be interested in
Click the link to download now or visit ebookfinal.com
for more options!.
Statistical Inference Vijay K. Rohatgi
https://ebookfinal.com/download/statistical-inference-vijay-k-rohatgi/
Statistical Inference 2nd Edition George Casella
https://ebookfinal.com/download/statistical-inference-2nd-edition-
george-casella/
Introductory Statistical Inference 1st Edition Nitis
Mukhopadhyay
https://ebookfinal.com/download/introductory-statistical-
inference-1st-edition-nitis-mukhopadhyay/
Probability and Statistical Inference 2nd Edition Robert
Bartoszy■ski
https://ebookfinal.com/download/probability-and-statistical-
inference-2nd-edition-robert-bartoszynski/
3. Statistical Models and Causal Inference A Dialogue with
the Social Sciences 1st Edition David A. Freedman
https://ebookfinal.com/download/statistical-models-and-causal-
inference-a-dialogue-with-the-social-sciences-1st-edition-david-a-
freedman/
Essentials of Statistical Inference 1st edition Edition G.
A. Young
https://ebookfinal.com/download/essentials-of-statistical-
inference-1st-edition-edition-g-a-young/
GARCH Models Structure Statistical Inference and Financial
Applications Christian Francq
https://ebookfinal.com/download/garch-models-structure-statistical-
inference-and-financial-applications-christian-francq/
Statistical Physics Optimization Inference and Message
Passing Algorithms 1st Edition Florent Krzakala
https://ebookfinal.com/download/statistical-physics-optimization-
inference-and-message-passing-algorithms-1st-edition-florent-krzakala/
Constrained Statistical Inference Inequality Order and
Shape Restrictions 1st Edition Mervyn J. Silvapulle
https://ebookfinal.com/download/constrained-statistical-inference-
inequality-order-and-shape-restrictions-1st-edition-mervyn-j-
silvapulle/
5. Applied Statistical Inference with MINITAB Sally Lesik
Digital Instant Download
Author(s): Sally Lesik
ISBN(s): 9781420065848, 142006584X
Edition: Har/Cdr
File Details: PDF, 14.83 MB
Year: 2009
Language: english
27. THE TEMPLE GARDEN, SEIGWANJI
streets, and were being cleaned up in preparation for the day’s performances.
The town is studded with tall fire-proof go-downs, in which the precious
vehicles are safely stored during the rest of the year.
Near Maibara there were large orchards of persimmons with brilliant-
colored fruit, which, as Andrew Marvel says of the oranges, “hang like gold
lamps in a green night.” They were particularly beautiful in the well-
designed garden of Seigwanji, where I made some sketches. It is a fine
example of a temple garden, and some massive evergreen oaks form an
impressive background to the gray stones, the carefully trained pines, and
the trimly clipped shrubs; but except for the persimmons, a few reddening
maple leaves, some late blooms of platycodon, and the scarlet berries of a
little ardisia, it was all green and gray.
In the cottage
gardens near
Suzukawa, a little
station on the Tokaido
to the south of Fuji
where I made a short
halt late in October, I
began to see some
chrysanthemum
flowers; they were not
particularly fine or
effective, but I found
plenty to paint there,
and wished very much
that the days and my
remaining weeks in
Japan were not getting
so short. The village
lies behind a range of
sand dunes, which are
overgrown with
28. MINIATURE PAGODA IN THE TEMPLE GARDEN, SEIGWANJI
ancient pines, and
beyond them is the
shore of Suruga Bay, a
grand expanse of gray
volcanic sand, called
by the Japanese Tago-
no-ura, where
fishermen are always
hauling at nets in lines
of naked brown
figures against the
blue sea, or wandering
back in groups across
the sands in long dark-
blue coats, with pale-
blue and white
handkerchiefs tied
over their heads,
carrying their nets and
parcels of fish
wrapped in straw. At
my tea-house, the
Koshuya, I reaped the
result of their labors,
and got excellent
dinners of red or gray
tai, lobsters, and huge
prawns, cooked by a
man who was a real
artist and took a pride
in his profession.
The first really fine
chrysanthemums I saw
were in Yokohama,
when I got back there
early in November; I was disappointed to find that they were in temporary
sheds put up to protect them from rain and sun, and not in masses out-of-
29. doors, as I expected to see them; but they were excellently grown, and in the
softened light of the oil-paper shades their colors showed to great advantage.
The plants are treated much as they are with us, raised in pots from cuttings
taken in the spring, and encouraged with plenty of manure until the buds are
formed; before flowering they are removed from their pots and planted out
in bold groups of color in the beds which have been prepared for them.
Some plants are reduced to a single stem, on which only one enormous
blossom is allowed to develop; these are generally arranged in a line, with
each flower stiffly tied to a horizontal bamboo support, and the effect is very
sad; but the excellence of the gardeners is best shown in growing large
bushes, which have been known to carry as many as four hundred flowers of
medium size, all in perfect condition, on the same day. An English gardener
who had visited every show within reach of Tōkyō, including the Emperor’s
celebrated collection in the palace grounds, told me that he had seen no
individual blossoms equal to the best dozen or so at a first-rate London
exhibition, but that these great plants with their hundreds of flowers were
A CHRYSANTHEMUM SHOW AT YOKOHAMA
30. triumphs of horticulture. The most curious examples of chrysanthemum-
growing were to be seen in the Dangozaka quarter of Tōkyō. The long hilly
street is bordered on each side with gardens enclosed with high bamboo
fences, and in every one, by paying three rin, you could see groups of life-
size figures mainly covered with chrysanthemum leaves and flowers. They
represented scenes from history, the drama, or Buddhist mythology, and
were constructed with frame-works of bamboo, inside which the flower-pots
were concealed, the shoots being brought through the openings and trained
over the outer surface. The heads and hands were made of painted wood, and
swords and other accessories were added to make them more life-like; the
draperies of living leaves and flowers were skilfully arranged in large folds,
and, as in most of the popular shows, they depicted the costumes of Daimio
and Samurai of the past. At each entrance I was given a sort of play-bill, a
roughly printed broad-sheet with a wood-cut and a description of the
different groups, serving as an advertisement of the gardener’s
establishment. One of the finest places for autumn colors is the large garden
behind the arsenal in the Koishikawa quarter, laid out by a former Prince of
Mito as a quiet retreat for his old age. It covers several acres, and is certainly
very beautiful, with its lakes and islands, solemn groves and shrines; but it is
silent and deserted; the people are only admitted by a special permission;
and I liked better the maples which line the banks of the Taki-no-gawa near
Oji, where crowds were quietly enjoying themselves, sipping tea and saké as
they sat in front of the tea-houses and gazed down on the trees, or strolling
along in picturesque groups under the crimson canopy of foliage. The little
river glides along with barely a ripple, and it reflected all the glory of the
leaves which stretched over it in sprays of scarlet and gold, reminding me of
a Japanese poem, “I wish to cross the river, but fear to cut the brocade on its
surface.” Another poem, dating from the time when it was customary to
present silk or cloth to the Shinto gods instead of the “gohei,” which now
serve as a symbol, shows the national admiration of the autumn leaves:
“This time I bring no offering; the gods can take the damask of the maple-
trees on Tamukeyama.”
There are many other trees in the rich flora of Japan which are as gay as
the maples, though no others which show as great a variety of color; the dark
leaves of the tulip-tree turn to a rich cadmium yellow, and the icho
31. (Salisburia) is covered with pale gold, while many of the shrubs, grasses,
and herbaceous plants with bright and varied tints help to relieve the solemn
everlasting green of the pines and cryptomerias which clothe the eternal
hills.
And so in a blaze of glory the Japanese year ends; but long before these
last leaves have fallen the camellias are once more in flower, and continue
until the plum blossom comes in February, a connecting link in the chain of
beauty and flowers which encircles this happy land. One of my last days in
Tōkyō was spent in showing my drawings to the students of the Uyeno
School of Art, where Professor Okakura, the president, who combines with a
good knowledge of Western art a great reverence for that of his own country,
is attempting with no small success to keep up the artistic tradition, and to
revive those artistic industries which were falling into decay. He had invited
artists of other schools, some of whom had studied in Paris and Rome, but I
was most interested in the remarks and questions of the purely Japanese
students, and in their eagerness to discover any motive, besides the
reproduction of nature, in work so different from their own.
At the Asakusa matsuri they were already selling emblems suited for the
new year—the rice-rake to scrape
32. THE ARSENAL GARDEN, KOISHIKAWA, TŌKYŌ
together dollars; the rice-bag, daikon, and red tai, suggestive of good fare;
and the target with an arrow in the bull’s-eye, meaning, “May you hit the
mark!” arranged round a mask of the goddess of fortune; and with a stock of
these to bring me good-luck, I sailed away on the 10th of December across
the dreary and flowerless Pacific.
35. LYCHNIS GRANDIFLORA, MISAKA-TOGE
BOOKS WITH ILLUSTRATIONS BY
ALFRED PARSONS
———
A SELECTION FROM THE SONNETS OF
WILLIAM WORDSWORTH. Illustrated by
Alfred Parsons. 4to, Full Leather, Gilt Edges,
$5 00. (In a Box.)
THE WARWICKSHIRE AVON. Notes by A. T.
Quiller-Couch. Illustrations by Alfred
Parsons. 8vo, Ornamental Half Leather, $2 00.
THE QUIET LIFE. Certain Verses by Various
Hands: the Motive set forth in a Prologue and
Epilogue by Austin Dobson; the whole
Adorned with Numerous Drawings by Edwin
A. Abbey and Alfred Parsons. 4to,
Ornamental Leather, Gilt Edges, $7 50. (In a
Box.)
OLD SONGS. With Drawings by Edwin A.
Abbey and Alfred Parsons. With Mounted
India Proof Frontispiece, left loose for framing.
4to, Ornamental Leather Cover, Gilt Edges, $7
50. (In a Box.)
———
Published by HARPER BROTHERS, New
York.
FOOTNOTES:
[A] Before I left Tennenji he wrote in one of my sketch-books the poem inscribed
above in Japanese characters. The reading is, “Yukuri no Omi no midzu-umi no fukaki
kokoro wa chiyomo chigiran,” and it may be roughly translated thus: Deep as the
36. water of Lake Biwa, my heart has been ever true and changeless since chance brought
us together.
[B] “Daikon” is a large kind of white radish, which is boiled and cut in strips and
served as a savor with every meal; it is very tough, and both the smell and the flavor
are repulsive. A well-known Yokohama poet has written some verses on the subject,
which show a great knowledge of culinary French, and a rooted dislike to the
vegetable which is shared by most foreigners. It commences in this way:
Cook loquitur (gently).
Won’t daikon do
To stew
With carrots and a bean or two?
Methinks ’twould give a savor rare
To cutlets à la Financière.
Won’t daikon do?
Master (decisively).
No—daikon will not do!
38. *** END OF THE PROJECT GUTENBERG EBOOK NOTES IN JAPAN
***
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
40. 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.
41. 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:
42. 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
43. 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
44. 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
45. 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,
46. 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
47. 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
48. 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.
49. 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.
55. Welcome to our website – the ideal destination for book lovers and
knowledge seekers. With a mission to inspire endlessly, we offer a
vast collection of books, ranging from classic literary works to
specialized publications, self-development books, and children's
literature. Each book is a new journey of discovery, expanding
knowledge and enriching the soul of the reade
Our website is not just a platform for buying books, but a bridge
connecting readers to the timeless values of culture and wisdom. With
an elegant, user-friendly interface and an intelligent search system,
we are committed to providing a quick and convenient shopping
experience. Additionally, our special promotions and home delivery
services ensure that you save time and fully enjoy the joy of reading.
Let us accompany you on the journey of exploring knowledge and
personal growth!
ebookfinal.com