Test Bank for Introduction to Sociology 2nd by
Openstax download
http://testbankbell.com/product/test-bank-for-introduction-to-
sociology-2nd-by-openstax/
Explore and download more test bank or solution manual
at testbankbell.com
We believe these products will be a great fit for you. Click
the link to download now, or visit testbankbell.com
to discover even more!
Test Bank for Principles of Economics 2nd by Openstax
http://testbankbell.com/product/test-bank-for-principles-of-
economics-2nd-by-openstax/
Test Bank for Principles of Micro-Economics 2nd by
Openstax
http://testbankbell.com/product/test-bank-for-principles-of-micro-
economics-2nd-by-openstax/
Test Bank for The Real World An Introduction to Sociology,
2nd Edition: Ferris
http://testbankbell.com/product/test-bank-for-the-real-world-an-
introduction-to-sociology-2nd-edition-ferris/
Test Bank for Essentials of Radiographic Physics and
Imaging, 3rd Edition, James Johnston,
http://testbankbell.com/product/test-bank-for-essentials-of-
radiographic-physics-and-imaging-3rd-edition-james-johnston/
Solution Manual for Understanding and Managing
Organizational Behavior, 6/E 6th Edition : 0132616173
http://testbankbell.com/product/solution-manual-for-understanding-and-
managing-organizational-behavior-6-e-6th-edition-0132616173/
Test Bank for Essentials of Psychiatric Mental Health
Nursing, 2nd Edition: Elizabeth M. Varcarolis
http://testbankbell.com/product/test-bank-for-essentials-of-
psychiatric-mental-health-nursing-2nd-edition-elizabeth-m-varcarolis/
Test Bank for Skills in Clinical Nursing, 8th Edition
Audrey J. Berman Shirlee Snyder
http://testbankbell.com/product/test-bank-for-skills-in-clinical-
nursing-8th-edition-audrey-j-berman-shirlee-snyder/
Statistics for Business and Economics 13th Edition
Anderson Solutions Manual
http://testbankbell.com/product/statistics-for-business-and-
economics-13th-edition-anderson-solutions-manual/
Legal Environment, 5th Edition Test Bank – Jeffrey F.
Beatty
http://testbankbell.com/product/legal-environment-5th-edition-test-
bank-jeffrey-f-beatty/
Solution Manual for Power Electronics: Circuits, Devices &
Applications, 4/E 4th Edition Muhammad H. Rashid
http://testbankbell.com/product/solution-manual-for-power-electronics-
circuits-devices-applications-4-e-4th-edition-muhammad-h-rashid/
OpenStax, INTRODUCTION TO SOCIOLOGY 2e
1
Test Bank for Introduction to Sociology 2nd by
Openstax
Full chapter at: https://testbankbell.com/product/test-bank-for-
introduction-to-sociology-2nd-by-openstax/
Test Bank Questions
Chapter 2
1. Alexis wants to research the 1960’s feminist movement. She reads articles from the time
period, watches documentaries, reads scholarly journals on the topic, and interviews
influential women from the movement. What kind of research method is Alexis using?
a. Ethnography
b. Surveys
c. Experiments
d. Secondary data analysis*
2. Reliability is defined by the text as:
a. How well the study measures what it was designed to measure.
b. How long a study is expected to remain relevant and influential.
c. How close the study’s results come to the experimenter’s hypothesis.
d. A measure of a study’s consistency that considers how likely results are to be
replicated if a study is reproduced.*
3. John wants to study whether a larger number of laptops available to students at his school
lead to higher grades. Choose the independent and dependent variable.
a. Independent variable: Grades; Dependent variable: Number of laptops
b. Independent variable: John; Dependent variable: Grades
c. Independent variable: Grades; Dependent variable: John
d. Independent variable: Number of laptops; Dependent variable: Grades*
4. Quincia is studying how of the lack of comprehensive sex education is affecting a small,
rural town in North Dakota. She spends two months in the town, observing and
interviewing the townspeople. Quincia is conducting a(n) _____.
a. Ethnography*
b. Case study
c. Experiment
d. Secondary data analysis
5. A class of third graders is told that the assistant principal will be visiting their class to
confirm their teacher’s reports of bad behavior. When the principal visits, the students
behave perfectly. This is an example of ________.
a. The Authority Effect
b. The Regressive Effect
OpenStax, INTRODUCTION TO SOCIOLOGY 2e
2
c. The Hawthorne Effect*
d. The Cognizant Effect
6. Which of the following is NOT an example of a sociological hypothesis?
a. The more study halls students are given during the school day, the worse they
perform on their tests.
b. The more CDs Jamilla buys, the less money she has in her bank account*
c. The longer an inmate spends in prison, the more difficult it is for him to adapt to
the outside world.
d. The more positive reinforcement a parent gives a child, the better they do in
school.
7. Kendra is researching the effects of vitamin C on test-taking ability. Before the exam,
Kendra gives group A orange juice, and group B water. Vitamin C is the ______.
a. Experimental group
b. Control group
c. Dependent variable*
d. Independent variable
8. The term interpretive framework can be defined as:
a. A basis for which sociologists determine whether their independent and
dependent variables reflect the results.
b. A sociological research approach that seeks in-depth understanding of a topic or
subject through observation or interaction; this approach is not based on
hypothesis testing.*
c. An established scholarly research method that involves asking a question,
researching existing sources, forming a hypothesis, designing and conducting a
study, and drawing conclusions.
d. Specific explanations of abstract concepts that a researcher plans to study
9. Tyson is researching whether actors on prime-time television and hit movies negatively
impact teenagers’ body images. He is going undercover at a local high school to observe
and participate with the students to better understand the world they live in. Tyson is
conducting which research method?
a. Field research*
b. Surveys
c. Experiments
d. Secondary data analysis
10. Which of the following is an example of nonreactive research?
a. Gathering data from government studies*
b. Educating classrooms on the necessities of safe sex
c. Interviewing heroin addicts and providing them with clean needles
OpenStax, INTRODUCTION TO SOCIOLOGY 2e
3
d. Volunteering at a local food bank and interacting with homeless persons
11. Miguel is doing a research paper on New York City’s Stone Wall riots of 1969. He visits
the scene of the riots, interviews people who were there, reads the police reports of the
event, and watches video footage. Miguel is conducting a(n) ______.
a. Overview
b. Case study*
c. Experiment
d. Data analysis
12. Which of the following is not a purpose of the American Sociological Association’s code
of ethics?
a. To guarantee the safety of their participants
b. To maintain value neutrality
c. To ensure the financial gain of the researchers*
d. To foster professionally responsible scholarship in sociology
13. The term value neutrality is defined by the text as:
a. A practice of remaining impartial, without bias or judgment during the course of a
study and in publishing results.*
b. The study of evolving ethics and morals in relation to sociological research.
c. A systematic approach to record and value information gleaned from secondary
data as it relates to the study at hand.
d. A study’s participants being randomly selected to serve as a representation of a
larger population.
14. Kyle is collecting newspaper clippings from his grandfather about the American public’s
perception of World War II. This is an example of ______.
a. Tertiary data
b. Interactive data
c. Primary data
d. Secondary data*
15. Which of the following is an example of an unethical sociological research practice?
a. Conducting a literature review prior to conducting an experiment
b. Drawing conclusions from a study which the hypothesis did not predict
c. Observing study participants without their consent*
d. Using a control group and an experimental group during observation
16. Thomas wants to better understand the trends in literacy rates in Baltimore city over the
past 50 years using Baltimore city data. What type of research should Thomas conduct?
a. A survey
b. Field research
OpenStax, INTRODUCTION TO SOCIOLOGY 2e
4
c. An experiment
d. Secondary data analysis*
17. What is the importance of interpretive framework?
a. It leads to in-depth knowledge of a participant’s social world.*
b. It eliminates the need for a literature review.
c. It relies on statistics to determine causal relationships.
d. It prevents researchers from making unethical decisions.
18. Which of the following is not a step in the scientific method?
a. Research existing sources
b. Report results
c. Receive corroboration from the field*
d. Formulate a hypothesis
19. Kevin conducted a study on whether the length of the line at a local Starbucks affected
how well the customers enjoyed their coffee after receiving it. Malcolm conducted the
study at his local Starbucks, and found the same results. Kevin’s study had a high level of
_____.
a. Literacy
b. Validity
c. Interpretation
d. Reliability*
20. In order to better understand the sorority pledging process at her university for her
sociology thesis, Carmen pledges with a popular sorority. This is an example of _____.
a. Literature review
b. Participant observation*
c. Secondary data analysis
d. Dependent variables
OpenStax, INTRODUCTION TO SOCIOLOGY 2e
5
Copyright 2015, Rice University. All Rights Reserved.
Exploring the Variety of Random
Documents with Different Content
the composer’s pride, but she burned the letter with a heavy heart. “My mother’s
admiration for Beethoven,” adds Frau Pessiak, “was like that of my aunt, so that
his wish was to her a command.” While at a picnic party in the environs of Vienna,
Beethoven stood beside the writer’s mother on the most beautiful observation
point. Suddenly he took out his note-book, tore out a leaf, drew a staff upon it,
jotted down the melody of the song, “Wenn ich ein Vöglein wär” (Treitschke’s “Ruf
vom Berge,” No. 219, in Thayer’s “Chronological Catalogue”) and handed it to his
companion with the words: “Now, Miss Nanni, do you write the bass for it.” “My
mother cherished the leaf as a precious souvenir for a long time, then gave it to
me because, as she said, I was the most musical one of the family, and would best
appreciate the treasure. I have it preserved under a glass and frame.” One day
Beethoven brought with him the song from “Faust” beginning: “Es war einmal ein
König, der hatt’ einen grossen Floh” (“Once upon a time there was a king who had
a large flea”). “Aunt and mother had to try it.” Then Beethoven took his seat at the
pianoforte and played the conclusion in which he turned his thumb and with it
struck two adjoining keys at the same time, laughed and said: “That’s the way to
kill him!” On the occasion of Anna Giannatasio’s birthday, Beethoven came and
offered a musical congratulation. Approaching her he sang with great solemnity
the melody of a canon to the words: “Above all may you want happiness and
health, too,—”. Then he stopped and the lady protested that the wish that she
might fail in happiness and health was scarcely a kind one; whereupon Beethoven
laughed and finished the sentiment with “at no time.” Here is the canon:
Glück fehl Dir vor allem, Gesundheit auch niemalen!
[175] This letter is dated “February 23, 1816”—another obvious blunder of the
kind to which Beethoven was prone; it should of course be 1817. In the letter to
Steiner last referred to he asks the publisher to keep the dedication a secret, as he
intended it to be a surprise. Thayer accepted the date and explained the
discrepancy with the suggestion that Beethoven had forwarded a manuscript copy
to the baroness. The theory is no longer tenable. The lady could scarcely be
surprised by a printed copy if she already had the Sonata in manuscript and also
the letter which so plainly shows that the Sonata was written for her. It is also
plain that Schindler was in error when he stated that the Sonata had been played
in public in February, 1816. According to Nottebohm (“Zweite Beethoveniana,” p.
344), the autograph of the Sonata bears the inscription: “Neue Sonata für
Ham....., 1816, im Monath November.” Its forthcoming appearance in print was
announced in Kanne’s “Musik-Zeitung” under date January 23, 1817.
[176] The principal contributions to Beethoven’s biography from Czerny’s pen are
in Schmidt’s “Wiener Allg. Mus. Zeitung,” 1845, No. 113; Cock’s “Musical
Miscellany,” London, 1852; and manuscript notes in Jahn’s papers.
[177] It is Thayer who is speaking here.
[178] “Mödling,” said Potter in narrating the incidents of his association with
Beethoven to Mr. Thayer in 1861; but Potter was nearly 69 years old at the time
and his memory of the suburbs of Vienna may have been a trifle faulty. Beethoven
was in Mödling in 1818, but it has not been learned that he went thither after his
sojourn in Heiligenstadt and Nussdorf in 1817. At any rate, he was in Nussdorf till
late September, perhaps early October, and was then on the eve of a new
experiment in housekeeping so that he might have his nephew with him,
concerning which he wrote to Giannatasio in Vienna on November 12. There is
nothing in his letters to Frau Streicher and others at this time to indicate a change
to Mödling, whither he went in May of the next year after he had reported Potter’s
visits to Ries in March.
[179] This agrees with the theory that the first meetings took place at some other
place. To Ries, Beethoven wrote on March 5, 1818: “Botter [sic] visited me a few
times; he appears to be a good man and has talent for composition.”
[180] Other instances of this nature have been recorded in this biography. In
December, 1811, a visitor, Xaver Schnyder von Wartensee, reported to Nägeli in
Zürich that Beethoven had said to him: “All Viennese, from the Emperor to the
bootblack, are good for nothing.” “I asked him,” von Wartensee continues, “if he
took no pupils?” “No,” he replied, “teaching is a disagreeable task; he had only one
pupil who gave him a great deal of trouble and whom he would like to get rid of if
he could.” “And who is he?” “Archduke Rudolph.”
[181] Treitschke had provided the libretto of “Romulus”; it does not appear that
Beethoven ever began its composition.
[182] The letter, which is reproduced in facsimile in Schindler’s biography, is a
more or less fantastic scrawl or flourish which may be read as an “R” as well as an
“M.”
[183] The letter to Thayer is dated May 21, 1873. Mälzel, it will be remembered,
lived in Philadelphia for some time before his death at sea on July 21, 1838.
[184] Thus copied by Fischoff.
[185] Beethoven does not seem always to have maintained so reverential a feeling
for the instrument as is indicated by the above statement. In Thayer’s note-book
the American editor of this biography found this anecdote: “Once Beethoven told
Stein that some strings in his Broadwood Pf. were wanting, and caught up the
bootjack and struck the keys with it to show.”
[186] We have contented ourselves with mere references to Beethoven’s letters to
Madame Streicher in this period. They are mostly brief notes monotonously asking
help in domestic affairs, and, though frequently interesting because of their
exhibition of characteristic traits and moods, too insignificant to justify the
cumbering of these pages with their literal contents. Those who wish to do so can
read them in any of the German collections of Beethoven’s letters or in the English
translation by Shedlock. But Kalischer’s notes and dates and sometimes Mr.
Shedlock’s translation ought to be critically scrutinized. The letter referred to
above, however, deserves to be given in full.
“Best Madame von Streicher!
“It was not possible to reply to your last letter sooner. I would have written to you
a few days ago when the servants were sent away, but hesitated in my
determination until I learned that it was Frau D. in particular who hindered Karl to
make full confession. “He ought to spare his mother,” she told him; and Peppi
coöperated with her; naturally they did not want to be discovered; they worked
together shamefully and permitted themselves to be used by Frau v. Beethoven;
both received coffee and sugar from her, Peppi money and the old one probably
also; for there can be no doubt that she was herself at the house of Karl’s mother;
she said to Karl that if I drove her away from my service she would go straight to
his mother. This happened at a time when I had reproved her for her conduct with
which I had frequent occasion to be dissatisfied; Peppi who often played the
eavesdropper when I spoke with Karl appears to have tried to tell the truth, but
the old one accused her of stupidity and scolded her stoutly—and so she remained
silent and tried to throw me off the trail. The story of this abominable deception
may have lasted about six weeks—they would not have got off so easy with a less
magnanimous man. Peppi borrowed 9 or 10 florins for stuff for shirts and I
afterwards made her a present of the money and instead of 60 she got 70 florins;
she might have denied herself these wretched bribes. In the case of the old
woman, who was always the worse, hate may have played a part as she always
thought herself neglected (although she got more than she deserved) for the
scornful smile on her face one day when Karl embraced me, made me suspect
treachery and how shameless and deceitful such an old woman could be. Just
imagine, 2 days before I came here K. went to his mother one afternoon without
my knowledge and both the old woman and P. knew it. But now listen to the
triumph of a hoary-headed traitress; on the way hither with K. and her, I spoke
with K. about the matter in the carriage, although I did not know all, and when I
expressed the fear that we should not be safe in Mödling, she exclaimed “I should
only rely upon her.” O the infamy of it! This was only the 2nd time in the case of a
person of such venerable age that such a thing happened to me. A few days
before I sent both away I had told them in writing that under no circumstances
were they to accept anything for Karl from his mother. Instead of repenting, Peppi
tried secretly to take revenge on Karl, after he had confessed all which they knew
from the fact that in writing, I had said that all had been discovered—I expected
that they would both beg my pardon after this, instead of which they played me
one wicked trick after the other. As no betterment was to be expected in such
obstinate sinners and I had every moment to fear another piece of treachery, I
decided to sacrifice my body, my comfort to better self, my poor, misguided Karl
and out of the house they went as a warning example to all those who may come
after. I might have made their certificates of character a little less favorable; I set
down the time of service of each at full six months although it was not true. I
never practise vengeance; in cases where I oppose myself to other people, I never
do more against them than is necessary to protect myself against them or to
prevent them from doing further harm. On account of Peppi’s honesty in general I
am sorry to have lost her for which reason I made her certificate more favorable
than that of the old woman, and she appears to have been led astray by the old
woman but that P.’s conscience was not at ease she showed by saying to Karl that
“she did not dare go back to her parents,” and, in fact I believe she is still here—I
had suspected treachery for a long time until one evening before my departure I
received an anonymous letter the contents of which filled me with dread; but they
were only suspicions. Karl, whom I took to task at once in the evening confessed
but not all. As I often treat him harshly and not without cause, he was too greatly
afraid to admit everything at once. In the midst of the struggle we reached here.
As I often questioned him, the servants noticed it and the old woman in particular
tried to persuade him not to admit the truth. But when I gave Karl my sacred
assurance that all would be forgiven if he would but confess the truth, while lying
would plunge him into a deeper abyss than that in which he already was,
everything came to the light of day—add to this the other data which I gave you
before concerning the servants and you will have the shameful story of the two
traitresses clearly before you. K. did wrong, but—mother—mother—even a bad
one remains a mother. To this extent he is to be excused, particularly by me who
know his intriguing, passionate mother too well. The priest here knows already
that I know about him for K. had already told me. It is likely that he was not fully
informed and that he will be careful; but to guard against K.’s being mistreated by
him, since he appears to be rather a rude man, the matter may rest for the nonce.
But as K.’s virtue was put to the test for there is no virtue without temptation, I
purposely pass the matter by until it happens again (which I do not expect) in
which case I will so bethwack his reverence with such spiritual cudgels, amulets
with my sole guardianship and consequent privileges that the whole parish will
shake. My heart has been terribly shaken up by this affair and I can scarcely
recover myself. Now to my housekeeping; it needs your help; how necessary it is
to us you already know; do not be frightened away, such a thing might happen
anywhere, but if it has once happened and one is in a position to hold it up to
one’s new servants, it is not likely that it will occur again. You know what we need
—perhaps the French woman, and whatever can be found in the way of a
chambermaid, good cooking remains the principal thing, even in the matter of
economy, for the present we have a person who cooks for us, but badly. I cannot
write you more to-day, you will perceive that in this matter I could not act
differently; it had gone too far. I do not yet invite you to visit me here for
everything is still in confusion; nevertheless it will not be necessary to send me to
a lunatic asylum. I can say that I already suffered from this thing fearfully while I
was yet in Vienna, though I kept silent. Farewell; do not make anything of this
known as some one might think prejudicially of K.; only I who know all the driving
wheels here can testify for him that he was terribly misled. I beg of you soon to
write us something comforting, touching the art of cooking, washing and sewing.
“I am very ill and in need of a stomach restorative.
“Mödling, June 18 (10?), 1818.”
[187] It was this priest, evidently, against whom Beethoven threatened to launch
the thunderbolts of his wrath so as to shake the earth in a certain event, as he
told Madame Streicher.
[188] In the letter to Ries.
[189] Evidently Joseph Valentine, a violoncello player, father of Jacob Dont, the
violinist, chiefly famous as a teacher of his instrument in Vienna.
[190] Mr. Thayer made or procured transcripts of the records of the tribunals in
which the struggle for the possession of Karl van Beethoven were made. Students
whose curiosity is not satisfied by these pages are referred to Appendix III of Vol.
IV of the German edition of this biography.
[191] In one of the Conversation Books used by Beethoven in 1820, there occurs
this remark in Beethoven’s handwriting: “... when it learned that my brother was
not of the nobility. It is singular, so far as I know, that there is a hiatus here which
ought to be filled, for my nature shows that I do not belong among these plebs”;
and, in February, 1820, when Peters had observed his dissatisfaction: “The
common citizen should be excluded from higher men, and I have gotten amongst
them.” “In three weeks,” Peters wrote, he would have nothing to do with citizens
and magistracy. He would yet be asked for assistance and receive the most
favorable report concerning his appeal. Not long afterward the Appellate Court
brought in its decision in his favor in the guardianship matter.
[192] Hotschevar’s accusation was evidently rankling in his breast.
[193] It is the short piece in B-flat published as a supplement to the Berlin
“Allgem. Musik. Zeit.” on December 8, 1824, under the title “Dernière pensée
musicale.” Beethoven’s autograph inscription runs: “Auf Aufforderung geschrieben
Nachmittags am 14. August 1818, von Beethoven.” “Letzter musikalischer
Gedanke.”
[194] Beethoven had written: “To the two pieces which I wrote down on the
name-day of Y. R. H., two others have been added, the last of which is a large
Fugato, so that the whole constitutes a grand sonata which will soon be published
and long ago in my heart was designed for you; the latest happening to Y. R. H., is
not in the least responsible for this.”
[195] Nor even, as Thayer opined, that they had been delivered in manuscript to
the Archduke on that day.
[196] “Notizen,” p. 149.
[197] This letter was first printed in Vol. IV of the German edition of Thayer’s
biography—not, as Mr. Shedlock says, in his translation of Kalischer’s collection.
Vol. IV appeared in 1907; Mr. Shedlock’s translation in 1909. Dr. Deiters found a
transcript of the letter among the posthumous papers of Mr. Thayer, who had it
from Mr. J. Marshall, of London. Its pages had been separated by some vandal
who probably wanted to sell two autographs instead of one. Mr. Marshall bought
the sheets at two different autograph sales and, recognizing their relationship,
united them. The letter appears afterwards to have come into the hands of Mr. A.
F. Hill, who loaned it to Mr. Shedlock.
[198] Beethoven had sketched a promising Trio in F minor, in 1816, along with the
song-cycle and the Sonata in A major, and this, probably, was in his mind.
Transcriber's Note
Page headers in the original text have been moved above the paragraph to which they
relate.
All instances of "i.e." have been regularised to "i. e.".
The following printing errors have been corrected:
p. 5 "he “doubled" changed to "he doubled"
p. 6 "performance." changed to "performance.”"
p. 26 "that that this" changed to "that this"
p. 30 "difficult one. Beethoven violently" changed to "difficult one, Beethoven
violently"
p. 35 "and the begining" changed to "and the beginning"
p. 54 the paragraph beginning "Many years after" was indented
p. 76 "you were!”" changed to "you were!””"
p. 103 "prefer me?" changed to "prefer me?”"
p. 123 "in the “house" changed to "in the house"
p. 153 "much easier.”" changed to "much easier.’”"
p. 161 "“Weinmonath”" changed to "“Weinmonath"
p. 171 "diastrous" changed to "disastrous"
p. 174 "From Zmeskall’s lodgings" changed to "From Beethoven’s lodgings"
p. 215 "out of place" changed to "out of place."
p. 219 "acquaintaince" changed to "acquaintance"
p. 226 "romatic" changed to "romantic"
p. 227 "you good.”" changed to "you good.””"
p. 231 "similiar" changed to "similar"
p. 262 "Zukünft" changed to "Zukunft"
p. 266 "Gründer" changed to "Gründer”"
p. 290 "inprovised" changed to "improvised"
p. 296 "etc.," changed to "etc."
p. 296 "This seems" changed to "“This seems"
p. 302 "III “Fidelio”" changed to "III. “Fidelio”"
p. 313 "in C major" changed to "in C major."
p. 325 "Farwell" changed to "Farewell"
p. 327 "passively" changed to "passively."
p. 342 "out attention" changed to "our attention"
p. 366 "disatisfaction" changed to "dissatisfaction"
p. 381 (note) "Zurich" changed to "Zürich"
p. 383 "wereoften" changed to "were often"
p. 389 "was compossed" changed to "was composed"
p. 398 "setted" changed to "settled"
p. 412 "two movenents" changed to "two movements"
The following possible errors have not been changed:
p. vii "Disappointing Decrease" and p. 170 "Decrease"
p. 3 "at both: and in this wise:"
p. 6 and p. 267 "Tremate, empj, tremate"
p. 151 (note) "Neverthless"
p. 273 "“urged its completion" has no closing quotation mark
p. 291 "you up came"
p. 341 "how how right"
p. 353 "xThe present"
p. 415 "was thought"
The text uses the following inconsistently:
Carl and Karl
contrabass and contra-bass
Kozeluch and Koželuch
Les Ruines de Babylon and Les ruines de Babilone
nameday and name-day
P.P. and P. P.
pianoforte and piano-forte
In addition, there are many inconsistencies in spelling and punctuation in quotations,
which have not been changed.
Grätz and Gratz are different names.
*** END OF THE PROJECT GUTENBERG EBOOK THE LIFE OF
LUDWIG VAN BEETHOVEN, VOLUME II ***
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.
Test Bank for Introduction to Sociology 2nd by Openstax
Welcome to our website – the perfect destination for book lovers and
knowledge seekers. We believe that every book holds a new world,
offering opportunities for learning, discovery, and personal growth.
That’s why we are dedicated to bringing you a diverse collection of
books, ranging from classic literature and specialized publications to
self-development guides and children's books.
More than just a book-buying platform, we strive to be a bridge
connecting you with timeless cultural and intellectual values. With an
elegant, user-friendly interface and a smart search system, you can
quickly find the books that best suit your interests. Additionally,
our special promotions and home delivery services help you save time
and fully enjoy the joy of reading.
Join us on a journey of knowledge exploration, passion nurturing, and
personal growth every day!
testbankbell.com

More Related Content

PDF
Test Bank for Introduction to Sociology 2nd by Openstax
DOCX
Hsa 590 midterm and final exam – strayer new
DOCX
Hsa 590 midterm and final exam – strayer new
DOCX
Hsa 590 midterm and final exam – strayer new
DOCX
Hsa 590 midterm and final exam – strayer new
PDF
Test Bank for Investigating the Social World, 9th Edition, Russell K. Schutt,
PDF
Test Bank for Investigating the Social World, 9th Edition, Russell K. Schutt,
DOCX
MCQS,TRUE FALSE AND FILL IN THE BLANKStextbook is Social
Test Bank for Introduction to Sociology 2nd by Openstax
Hsa 590 midterm and final exam – strayer new
Hsa 590 midterm and final exam – strayer new
Hsa 590 midterm and final exam – strayer new
Hsa 590 midterm and final exam – strayer new
Test Bank for Investigating the Social World, 9th Edition, Russell K. Schutt,
Test Bank for Investigating the Social World, 9th Edition, Russell K. Schutt,
MCQS,TRUE FALSE AND FILL IN THE BLANKStextbook is Social

Similar to Test Bank for Introduction to Sociology 2nd by Openstax (20)

DOCX
Practical Research Third Quarterly Exam
DOCX
1. In psychological research, investigators sample individuals be.docx
PDF
Test Bank for Investigating the Social World, 9th Edition, Russell K. Schutt,
PDF
Research Methods for the Behavioral Sciences 2nd Edition Privitera Test Bank
PDF
Research Methods for the Behavioral Sciences 2nd Edition Privitera Test Bank
PDF
Test Bank for Making Sense of the Social World Methods of Investigation 6th E...
PDF
Research Methods for the Behavioral Sciences 5th Edition Stangor Test Bank
PDF
Test Bank for Investigating the Social World, 9th Edition, Russell K. Schutt,
PDF
Test Bank for Discover Sociology 3rd Edition by Chambliss Eglitis ISBN 978150...
PDF
Test Bank for Investigating the Social World, 9th Edition, Russell K. Schutt,
PDF
Research Methods for the Behavioral Sciences 2nd Edition Privitera Test Bank
PDF
Discovering the Scientist Within Research Methods in Psychology 1st Edition L...
PDF
THINK Sociology Canadian 2nd Edition Carl Test Bank
PDF
Test Bank for Making Sense of the Social World Methods of Investigation 6th E...
PDF
Discovering the Scientist Within Research Methods in Psychology 1st Edition L...
PDF
Personality Psychology 6th Edition Larsen Test Bank
PDF
Introduction to Sociology 11th Edition Giddens Test Bank
PDF
Personality Psychology 6th Edition Larsen Test Bank
PDF
Discovering the Scientist Within Research Methods in Psychology 1st Edition L...
PDF
Discovering the Scientist Within Research Methods in Psychology 1st Edition L...
Practical Research Third Quarterly Exam
1. In psychological research, investigators sample individuals be.docx
Test Bank for Investigating the Social World, 9th Edition, Russell K. Schutt,
Research Methods for the Behavioral Sciences 2nd Edition Privitera Test Bank
Research Methods for the Behavioral Sciences 2nd Edition Privitera Test Bank
Test Bank for Making Sense of the Social World Methods of Investigation 6th E...
Research Methods for the Behavioral Sciences 5th Edition Stangor Test Bank
Test Bank for Investigating the Social World, 9th Edition, Russell K. Schutt,
Test Bank for Discover Sociology 3rd Edition by Chambliss Eglitis ISBN 978150...
Test Bank for Investigating the Social World, 9th Edition, Russell K. Schutt,
Research Methods for the Behavioral Sciences 2nd Edition Privitera Test Bank
Discovering the Scientist Within Research Methods in Psychology 1st Edition L...
THINK Sociology Canadian 2nd Edition Carl Test Bank
Test Bank for Making Sense of the Social World Methods of Investigation 6th E...
Discovering the Scientist Within Research Methods in Psychology 1st Edition L...
Personality Psychology 6th Edition Larsen Test Bank
Introduction to Sociology 11th Edition Giddens Test Bank
Personality Psychology 6th Edition Larsen Test Bank
Discovering the Scientist Within Research Methods in Psychology 1st Edition L...
Discovering the Scientist Within Research Methods in Psychology 1st Edition L...
Ad

Recently uploaded (20)

PDF
What if we spent less time fighting change, and more time building what’s rig...
PDF
CISA (Certified Information Systems Auditor) Domain-Wise Summary.pdf
PDF
HVAC Specification 2024 according to central public works department
PDF
semiconductor packaging in vlsi design fab
PDF
FOISHS ANNUAL IMPLEMENTATION PLAN 2025.pdf
PDF
AI-driven educational solutions for real-life interventions in the Philippine...
PDF
BP 505 T. PHARMACEUTICAL JURISPRUDENCE (UNIT 1).pdf
PDF
ChatGPT for Dummies - Pam Baker Ccesa007.pdf
PDF
Environmental Education MCQ BD2EE - Share Source.pdf
PDF
LIFE & LIVING TRILOGY - PART - (2) THE PURPOSE OF LIFE.pdf
PDF
advance database management system book.pdf
PDF
Empowerment Technology for Senior High School Guide
PPTX
B.Sc. DS Unit 2 Software Engineering.pptx
PDF
Hazard Identification & Risk Assessment .pdf
PDF
Vision Prelims GS PYQ Analysis 2011-2022 www.upscpdf.com.pdf
PPTX
Module on health assessment of CHN. pptx
PDF
MICROENCAPSULATION_NDDS_BPHARMACY__SEM VII_PCI .pdf
DOCX
Cambridge-Practice-Tests-for-IELTS-12.docx
PDF
Race Reva University – Shaping Future Leaders in Artificial Intelligence
PPTX
Computer Architecture Input Output Memory.pptx
What if we spent less time fighting change, and more time building what’s rig...
CISA (Certified Information Systems Auditor) Domain-Wise Summary.pdf
HVAC Specification 2024 according to central public works department
semiconductor packaging in vlsi design fab
FOISHS ANNUAL IMPLEMENTATION PLAN 2025.pdf
AI-driven educational solutions for real-life interventions in the Philippine...
BP 505 T. PHARMACEUTICAL JURISPRUDENCE (UNIT 1).pdf
ChatGPT for Dummies - Pam Baker Ccesa007.pdf
Environmental Education MCQ BD2EE - Share Source.pdf
LIFE & LIVING TRILOGY - PART - (2) THE PURPOSE OF LIFE.pdf
advance database management system book.pdf
Empowerment Technology for Senior High School Guide
B.Sc. DS Unit 2 Software Engineering.pptx
Hazard Identification & Risk Assessment .pdf
Vision Prelims GS PYQ Analysis 2011-2022 www.upscpdf.com.pdf
Module on health assessment of CHN. pptx
MICROENCAPSULATION_NDDS_BPHARMACY__SEM VII_PCI .pdf
Cambridge-Practice-Tests-for-IELTS-12.docx
Race Reva University – Shaping Future Leaders in Artificial Intelligence
Computer Architecture Input Output Memory.pptx
Ad

Test Bank for Introduction to Sociology 2nd by Openstax

  • 1. Test Bank for Introduction to Sociology 2nd by Openstax download http://testbankbell.com/product/test-bank-for-introduction-to- sociology-2nd-by-openstax/ Explore and download more test bank or solution manual at testbankbell.com
  • 2. We believe these products will be a great fit for you. Click the link to download now, or visit testbankbell.com to discover even more! Test Bank for Principles of Economics 2nd by Openstax http://testbankbell.com/product/test-bank-for-principles-of- economics-2nd-by-openstax/ Test Bank for Principles of Micro-Economics 2nd by Openstax http://testbankbell.com/product/test-bank-for-principles-of-micro- economics-2nd-by-openstax/ Test Bank for The Real World An Introduction to Sociology, 2nd Edition: Ferris http://testbankbell.com/product/test-bank-for-the-real-world-an- introduction-to-sociology-2nd-edition-ferris/ Test Bank for Essentials of Radiographic Physics and Imaging, 3rd Edition, James Johnston, http://testbankbell.com/product/test-bank-for-essentials-of- radiographic-physics-and-imaging-3rd-edition-james-johnston/
  • 3. Solution Manual for Understanding and Managing Organizational Behavior, 6/E 6th Edition : 0132616173 http://testbankbell.com/product/solution-manual-for-understanding-and- managing-organizational-behavior-6-e-6th-edition-0132616173/ Test Bank for Essentials of Psychiatric Mental Health Nursing, 2nd Edition: Elizabeth M. Varcarolis http://testbankbell.com/product/test-bank-for-essentials-of- psychiatric-mental-health-nursing-2nd-edition-elizabeth-m-varcarolis/ Test Bank for Skills in Clinical Nursing, 8th Edition Audrey J. Berman Shirlee Snyder http://testbankbell.com/product/test-bank-for-skills-in-clinical- nursing-8th-edition-audrey-j-berman-shirlee-snyder/ Statistics for Business and Economics 13th Edition Anderson Solutions Manual http://testbankbell.com/product/statistics-for-business-and- economics-13th-edition-anderson-solutions-manual/ Legal Environment, 5th Edition Test Bank – Jeffrey F. Beatty http://testbankbell.com/product/legal-environment-5th-edition-test- bank-jeffrey-f-beatty/
  • 4. Solution Manual for Power Electronics: Circuits, Devices & Applications, 4/E 4th Edition Muhammad H. Rashid http://testbankbell.com/product/solution-manual-for-power-electronics- circuits-devices-applications-4-e-4th-edition-muhammad-h-rashid/
  • 5. OpenStax, INTRODUCTION TO SOCIOLOGY 2e 1 Test Bank for Introduction to Sociology 2nd by Openstax Full chapter at: https://testbankbell.com/product/test-bank-for- introduction-to-sociology-2nd-by-openstax/ Test Bank Questions Chapter 2 1. Alexis wants to research the 1960’s feminist movement. She reads articles from the time period, watches documentaries, reads scholarly journals on the topic, and interviews influential women from the movement. What kind of research method is Alexis using? a. Ethnography b. Surveys c. Experiments d. Secondary data analysis* 2. Reliability is defined by the text as: a. How well the study measures what it was designed to measure. b. How long a study is expected to remain relevant and influential. c. How close the study’s results come to the experimenter’s hypothesis. d. A measure of a study’s consistency that considers how likely results are to be replicated if a study is reproduced.* 3. John wants to study whether a larger number of laptops available to students at his school lead to higher grades. Choose the independent and dependent variable. a. Independent variable: Grades; Dependent variable: Number of laptops b. Independent variable: John; Dependent variable: Grades c. Independent variable: Grades; Dependent variable: John d. Independent variable: Number of laptops; Dependent variable: Grades* 4. Quincia is studying how of the lack of comprehensive sex education is affecting a small, rural town in North Dakota. She spends two months in the town, observing and interviewing the townspeople. Quincia is conducting a(n) _____. a. Ethnography* b. Case study c. Experiment d. Secondary data analysis 5. A class of third graders is told that the assistant principal will be visiting their class to confirm their teacher’s reports of bad behavior. When the principal visits, the students behave perfectly. This is an example of ________. a. The Authority Effect b. The Regressive Effect
  • 6. OpenStax, INTRODUCTION TO SOCIOLOGY 2e 2 c. The Hawthorne Effect* d. The Cognizant Effect 6. Which of the following is NOT an example of a sociological hypothesis? a. The more study halls students are given during the school day, the worse they perform on their tests. b. The more CDs Jamilla buys, the less money she has in her bank account* c. The longer an inmate spends in prison, the more difficult it is for him to adapt to the outside world. d. The more positive reinforcement a parent gives a child, the better they do in school. 7. Kendra is researching the effects of vitamin C on test-taking ability. Before the exam, Kendra gives group A orange juice, and group B water. Vitamin C is the ______. a. Experimental group b. Control group c. Dependent variable* d. Independent variable 8. The term interpretive framework can be defined as: a. A basis for which sociologists determine whether their independent and dependent variables reflect the results. b. A sociological research approach that seeks in-depth understanding of a topic or subject through observation or interaction; this approach is not based on hypothesis testing.* c. An established scholarly research method that involves asking a question, researching existing sources, forming a hypothesis, designing and conducting a study, and drawing conclusions. d. Specific explanations of abstract concepts that a researcher plans to study 9. Tyson is researching whether actors on prime-time television and hit movies negatively impact teenagers’ body images. He is going undercover at a local high school to observe and participate with the students to better understand the world they live in. Tyson is conducting which research method? a. Field research* b. Surveys c. Experiments d. Secondary data analysis 10. Which of the following is an example of nonreactive research? a. Gathering data from government studies* b. Educating classrooms on the necessities of safe sex c. Interviewing heroin addicts and providing them with clean needles
  • 7. OpenStax, INTRODUCTION TO SOCIOLOGY 2e 3 d. Volunteering at a local food bank and interacting with homeless persons 11. Miguel is doing a research paper on New York City’s Stone Wall riots of 1969. He visits the scene of the riots, interviews people who were there, reads the police reports of the event, and watches video footage. Miguel is conducting a(n) ______. a. Overview b. Case study* c. Experiment d. Data analysis 12. Which of the following is not a purpose of the American Sociological Association’s code of ethics? a. To guarantee the safety of their participants b. To maintain value neutrality c. To ensure the financial gain of the researchers* d. To foster professionally responsible scholarship in sociology 13. The term value neutrality is defined by the text as: a. A practice of remaining impartial, without bias or judgment during the course of a study and in publishing results.* b. The study of evolving ethics and morals in relation to sociological research. c. A systematic approach to record and value information gleaned from secondary data as it relates to the study at hand. d. A study’s participants being randomly selected to serve as a representation of a larger population. 14. Kyle is collecting newspaper clippings from his grandfather about the American public’s perception of World War II. This is an example of ______. a. Tertiary data b. Interactive data c. Primary data d. Secondary data* 15. Which of the following is an example of an unethical sociological research practice? a. Conducting a literature review prior to conducting an experiment b. Drawing conclusions from a study which the hypothesis did not predict c. Observing study participants without their consent* d. Using a control group and an experimental group during observation 16. Thomas wants to better understand the trends in literacy rates in Baltimore city over the past 50 years using Baltimore city data. What type of research should Thomas conduct? a. A survey b. Field research
  • 8. OpenStax, INTRODUCTION TO SOCIOLOGY 2e 4 c. An experiment d. Secondary data analysis* 17. What is the importance of interpretive framework? a. It leads to in-depth knowledge of a participant’s social world.* b. It eliminates the need for a literature review. c. It relies on statistics to determine causal relationships. d. It prevents researchers from making unethical decisions. 18. Which of the following is not a step in the scientific method? a. Research existing sources b. Report results c. Receive corroboration from the field* d. Formulate a hypothesis 19. Kevin conducted a study on whether the length of the line at a local Starbucks affected how well the customers enjoyed their coffee after receiving it. Malcolm conducted the study at his local Starbucks, and found the same results. Kevin’s study had a high level of _____. a. Literacy b. Validity c. Interpretation d. Reliability* 20. In order to better understand the sorority pledging process at her university for her sociology thesis, Carmen pledges with a popular sorority. This is an example of _____. a. Literature review b. Participant observation* c. Secondary data analysis d. Dependent variables
  • 9. OpenStax, INTRODUCTION TO SOCIOLOGY 2e 5 Copyright 2015, Rice University. All Rights Reserved.
  • 10. Exploring the Variety of Random Documents with Different Content
  • 11. the composer’s pride, but she burned the letter with a heavy heart. “My mother’s admiration for Beethoven,” adds Frau Pessiak, “was like that of my aunt, so that his wish was to her a command.” While at a picnic party in the environs of Vienna, Beethoven stood beside the writer’s mother on the most beautiful observation point. Suddenly he took out his note-book, tore out a leaf, drew a staff upon it, jotted down the melody of the song, “Wenn ich ein Vöglein wär” (Treitschke’s “Ruf vom Berge,” No. 219, in Thayer’s “Chronological Catalogue”) and handed it to his companion with the words: “Now, Miss Nanni, do you write the bass for it.” “My mother cherished the leaf as a precious souvenir for a long time, then gave it to me because, as she said, I was the most musical one of the family, and would best appreciate the treasure. I have it preserved under a glass and frame.” One day Beethoven brought with him the song from “Faust” beginning: “Es war einmal ein König, der hatt’ einen grossen Floh” (“Once upon a time there was a king who had a large flea”). “Aunt and mother had to try it.” Then Beethoven took his seat at the pianoforte and played the conclusion in which he turned his thumb and with it struck two adjoining keys at the same time, laughed and said: “That’s the way to kill him!” On the occasion of Anna Giannatasio’s birthday, Beethoven came and offered a musical congratulation. Approaching her he sang with great solemnity the melody of a canon to the words: “Above all may you want happiness and health, too,—”. Then he stopped and the lady protested that the wish that she might fail in happiness and health was scarcely a kind one; whereupon Beethoven laughed and finished the sentiment with “at no time.” Here is the canon: Glück fehl Dir vor allem, Gesundheit auch niemalen! [175] This letter is dated “February 23, 1816”—another obvious blunder of the kind to which Beethoven was prone; it should of course be 1817. In the letter to Steiner last referred to he asks the publisher to keep the dedication a secret, as he intended it to be a surprise. Thayer accepted the date and explained the discrepancy with the suggestion that Beethoven had forwarded a manuscript copy to the baroness. The theory is no longer tenable. The lady could scarcely be surprised by a printed copy if she already had the Sonata in manuscript and also the letter which so plainly shows that the Sonata was written for her. It is also plain that Schindler was in error when he stated that the Sonata had been played in public in February, 1816. According to Nottebohm (“Zweite Beethoveniana,” p. 344), the autograph of the Sonata bears the inscription: “Neue Sonata für Ham....., 1816, im Monath November.” Its forthcoming appearance in print was announced in Kanne’s “Musik-Zeitung” under date January 23, 1817. [176] The principal contributions to Beethoven’s biography from Czerny’s pen are in Schmidt’s “Wiener Allg. Mus. Zeitung,” 1845, No. 113; Cock’s “Musical Miscellany,” London, 1852; and manuscript notes in Jahn’s papers.
  • 12. [177] It is Thayer who is speaking here. [178] “Mödling,” said Potter in narrating the incidents of his association with Beethoven to Mr. Thayer in 1861; but Potter was nearly 69 years old at the time and his memory of the suburbs of Vienna may have been a trifle faulty. Beethoven was in Mödling in 1818, but it has not been learned that he went thither after his sojourn in Heiligenstadt and Nussdorf in 1817. At any rate, he was in Nussdorf till late September, perhaps early October, and was then on the eve of a new experiment in housekeeping so that he might have his nephew with him, concerning which he wrote to Giannatasio in Vienna on November 12. There is nothing in his letters to Frau Streicher and others at this time to indicate a change to Mödling, whither he went in May of the next year after he had reported Potter’s visits to Ries in March. [179] This agrees with the theory that the first meetings took place at some other place. To Ries, Beethoven wrote on March 5, 1818: “Botter [sic] visited me a few times; he appears to be a good man and has talent for composition.” [180] Other instances of this nature have been recorded in this biography. In December, 1811, a visitor, Xaver Schnyder von Wartensee, reported to Nägeli in Zürich that Beethoven had said to him: “All Viennese, from the Emperor to the bootblack, are good for nothing.” “I asked him,” von Wartensee continues, “if he took no pupils?” “No,” he replied, “teaching is a disagreeable task; he had only one pupil who gave him a great deal of trouble and whom he would like to get rid of if he could.” “And who is he?” “Archduke Rudolph.” [181] Treitschke had provided the libretto of “Romulus”; it does not appear that Beethoven ever began its composition. [182] The letter, which is reproduced in facsimile in Schindler’s biography, is a more or less fantastic scrawl or flourish which may be read as an “R” as well as an “M.” [183] The letter to Thayer is dated May 21, 1873. Mälzel, it will be remembered, lived in Philadelphia for some time before his death at sea on July 21, 1838. [184] Thus copied by Fischoff. [185] Beethoven does not seem always to have maintained so reverential a feeling for the instrument as is indicated by the above statement. In Thayer’s note-book the American editor of this biography found this anecdote: “Once Beethoven told Stein that some strings in his Broadwood Pf. were wanting, and caught up the bootjack and struck the keys with it to show.” [186] We have contented ourselves with mere references to Beethoven’s letters to Madame Streicher in this period. They are mostly brief notes monotonously asking help in domestic affairs, and, though frequently interesting because of their exhibition of characteristic traits and moods, too insignificant to justify the
  • 13. cumbering of these pages with their literal contents. Those who wish to do so can read them in any of the German collections of Beethoven’s letters or in the English translation by Shedlock. But Kalischer’s notes and dates and sometimes Mr. Shedlock’s translation ought to be critically scrutinized. The letter referred to above, however, deserves to be given in full. “Best Madame von Streicher! “It was not possible to reply to your last letter sooner. I would have written to you a few days ago when the servants were sent away, but hesitated in my determination until I learned that it was Frau D. in particular who hindered Karl to make full confession. “He ought to spare his mother,” she told him; and Peppi coöperated with her; naturally they did not want to be discovered; they worked together shamefully and permitted themselves to be used by Frau v. Beethoven; both received coffee and sugar from her, Peppi money and the old one probably also; for there can be no doubt that she was herself at the house of Karl’s mother; she said to Karl that if I drove her away from my service she would go straight to his mother. This happened at a time when I had reproved her for her conduct with which I had frequent occasion to be dissatisfied; Peppi who often played the eavesdropper when I spoke with Karl appears to have tried to tell the truth, but the old one accused her of stupidity and scolded her stoutly—and so she remained silent and tried to throw me off the trail. The story of this abominable deception may have lasted about six weeks—they would not have got off so easy with a less magnanimous man. Peppi borrowed 9 or 10 florins for stuff for shirts and I afterwards made her a present of the money and instead of 60 she got 70 florins; she might have denied herself these wretched bribes. In the case of the old woman, who was always the worse, hate may have played a part as she always thought herself neglected (although she got more than she deserved) for the scornful smile on her face one day when Karl embraced me, made me suspect treachery and how shameless and deceitful such an old woman could be. Just imagine, 2 days before I came here K. went to his mother one afternoon without my knowledge and both the old woman and P. knew it. But now listen to the triumph of a hoary-headed traitress; on the way hither with K. and her, I spoke with K. about the matter in the carriage, although I did not know all, and when I expressed the fear that we should not be safe in Mödling, she exclaimed “I should only rely upon her.” O the infamy of it! This was only the 2nd time in the case of a person of such venerable age that such a thing happened to me. A few days before I sent both away I had told them in writing that under no circumstances were they to accept anything for Karl from his mother. Instead of repenting, Peppi tried secretly to take revenge on Karl, after he had confessed all which they knew from the fact that in writing, I had said that all had been discovered—I expected that they would both beg my pardon after this, instead of which they played me one wicked trick after the other. As no betterment was to be expected in such obstinate sinners and I had every moment to fear another piece of treachery, I
  • 14. decided to sacrifice my body, my comfort to better self, my poor, misguided Karl and out of the house they went as a warning example to all those who may come after. I might have made their certificates of character a little less favorable; I set down the time of service of each at full six months although it was not true. I never practise vengeance; in cases where I oppose myself to other people, I never do more against them than is necessary to protect myself against them or to prevent them from doing further harm. On account of Peppi’s honesty in general I am sorry to have lost her for which reason I made her certificate more favorable than that of the old woman, and she appears to have been led astray by the old woman but that P.’s conscience was not at ease she showed by saying to Karl that “she did not dare go back to her parents,” and, in fact I believe she is still here—I had suspected treachery for a long time until one evening before my departure I received an anonymous letter the contents of which filled me with dread; but they were only suspicions. Karl, whom I took to task at once in the evening confessed but not all. As I often treat him harshly and not without cause, he was too greatly afraid to admit everything at once. In the midst of the struggle we reached here. As I often questioned him, the servants noticed it and the old woman in particular tried to persuade him not to admit the truth. But when I gave Karl my sacred assurance that all would be forgiven if he would but confess the truth, while lying would plunge him into a deeper abyss than that in which he already was, everything came to the light of day—add to this the other data which I gave you before concerning the servants and you will have the shameful story of the two traitresses clearly before you. K. did wrong, but—mother—mother—even a bad one remains a mother. To this extent he is to be excused, particularly by me who know his intriguing, passionate mother too well. The priest here knows already that I know about him for K. had already told me. It is likely that he was not fully informed and that he will be careful; but to guard against K.’s being mistreated by him, since he appears to be rather a rude man, the matter may rest for the nonce. But as K.’s virtue was put to the test for there is no virtue without temptation, I purposely pass the matter by until it happens again (which I do not expect) in which case I will so bethwack his reverence with such spiritual cudgels, amulets with my sole guardianship and consequent privileges that the whole parish will shake. My heart has been terribly shaken up by this affair and I can scarcely recover myself. Now to my housekeeping; it needs your help; how necessary it is to us you already know; do not be frightened away, such a thing might happen anywhere, but if it has once happened and one is in a position to hold it up to one’s new servants, it is not likely that it will occur again. You know what we need —perhaps the French woman, and whatever can be found in the way of a chambermaid, good cooking remains the principal thing, even in the matter of economy, for the present we have a person who cooks for us, but badly. I cannot write you more to-day, you will perceive that in this matter I could not act differently; it had gone too far. I do not yet invite you to visit me here for everything is still in confusion; nevertheless it will not be necessary to send me to
  • 15. a lunatic asylum. I can say that I already suffered from this thing fearfully while I was yet in Vienna, though I kept silent. Farewell; do not make anything of this known as some one might think prejudicially of K.; only I who know all the driving wheels here can testify for him that he was terribly misled. I beg of you soon to write us something comforting, touching the art of cooking, washing and sewing. “I am very ill and in need of a stomach restorative. “Mödling, June 18 (10?), 1818.” [187] It was this priest, evidently, against whom Beethoven threatened to launch the thunderbolts of his wrath so as to shake the earth in a certain event, as he told Madame Streicher. [188] In the letter to Ries. [189] Evidently Joseph Valentine, a violoncello player, father of Jacob Dont, the violinist, chiefly famous as a teacher of his instrument in Vienna. [190] Mr. Thayer made or procured transcripts of the records of the tribunals in which the struggle for the possession of Karl van Beethoven were made. Students whose curiosity is not satisfied by these pages are referred to Appendix III of Vol. IV of the German edition of this biography. [191] In one of the Conversation Books used by Beethoven in 1820, there occurs this remark in Beethoven’s handwriting: “... when it learned that my brother was not of the nobility. It is singular, so far as I know, that there is a hiatus here which ought to be filled, for my nature shows that I do not belong among these plebs”; and, in February, 1820, when Peters had observed his dissatisfaction: “The common citizen should be excluded from higher men, and I have gotten amongst them.” “In three weeks,” Peters wrote, he would have nothing to do with citizens and magistracy. He would yet be asked for assistance and receive the most favorable report concerning his appeal. Not long afterward the Appellate Court brought in its decision in his favor in the guardianship matter. [192] Hotschevar’s accusation was evidently rankling in his breast. [193] It is the short piece in B-flat published as a supplement to the Berlin “Allgem. Musik. Zeit.” on December 8, 1824, under the title “Dernière pensée musicale.” Beethoven’s autograph inscription runs: “Auf Aufforderung geschrieben Nachmittags am 14. August 1818, von Beethoven.” “Letzter musikalischer Gedanke.” [194] Beethoven had written: “To the two pieces which I wrote down on the name-day of Y. R. H., two others have been added, the last of which is a large Fugato, so that the whole constitutes a grand sonata which will soon be published and long ago in my heart was designed for you; the latest happening to Y. R. H., is not in the least responsible for this.”
  • 16. [195] Nor even, as Thayer opined, that they had been delivered in manuscript to the Archduke on that day. [196] “Notizen,” p. 149. [197] This letter was first printed in Vol. IV of the German edition of Thayer’s biography—not, as Mr. Shedlock says, in his translation of Kalischer’s collection. Vol. IV appeared in 1907; Mr. Shedlock’s translation in 1909. Dr. Deiters found a transcript of the letter among the posthumous papers of Mr. Thayer, who had it from Mr. J. Marshall, of London. Its pages had been separated by some vandal who probably wanted to sell two autographs instead of one. Mr. Marshall bought the sheets at two different autograph sales and, recognizing their relationship, united them. The letter appears afterwards to have come into the hands of Mr. A. F. Hill, who loaned it to Mr. Shedlock. [198] Beethoven had sketched a promising Trio in F minor, in 1816, along with the song-cycle and the Sonata in A major, and this, probably, was in his mind.
  • 17. Transcriber's Note Page headers in the original text have been moved above the paragraph to which they relate. All instances of "i.e." have been regularised to "i. e.". The following printing errors have been corrected: p. 5 "he “doubled" changed to "he doubled" p. 6 "performance." changed to "performance.”" p. 26 "that that this" changed to "that this" p. 30 "difficult one. Beethoven violently" changed to "difficult one, Beethoven violently" p. 35 "and the begining" changed to "and the beginning" p. 54 the paragraph beginning "Many years after" was indented p. 76 "you were!”" changed to "you were!””" p. 103 "prefer me?" changed to "prefer me?”" p. 123 "in the “house" changed to "in the house" p. 153 "much easier.”" changed to "much easier.’”" p. 161 "“Weinmonath”" changed to "“Weinmonath" p. 171 "diastrous" changed to "disastrous" p. 174 "From Zmeskall’s lodgings" changed to "From Beethoven’s lodgings" p. 215 "out of place" changed to "out of place." p. 219 "acquaintaince" changed to "acquaintance" p. 226 "romatic" changed to "romantic" p. 227 "you good.”" changed to "you good.””" p. 231 "similiar" changed to "similar" p. 262 "Zukünft" changed to "Zukunft" p. 266 "Gründer" changed to "Gründer”" p. 290 "inprovised" changed to "improvised" p. 296 "etc.," changed to "etc." p. 296 "This seems" changed to "“This seems" p. 302 "III “Fidelio”" changed to "III. “Fidelio”" p. 313 "in C major" changed to "in C major." p. 325 "Farwell" changed to "Farewell" p. 327 "passively" changed to "passively." p. 342 "out attention" changed to "our attention" p. 366 "disatisfaction" changed to "dissatisfaction" p. 381 (note) "Zurich" changed to "Zürich" p. 383 "wereoften" changed to "were often" p. 389 "was compossed" changed to "was composed" p. 398 "setted" changed to "settled" p. 412 "two movenents" changed to "two movements"
  • 18. The following possible errors have not been changed: p. vii "Disappointing Decrease" and p. 170 "Decrease" p. 3 "at both: and in this wise:" p. 6 and p. 267 "Tremate, empj, tremate" p. 151 (note) "Neverthless" p. 273 "“urged its completion" has no closing quotation mark p. 291 "you up came" p. 341 "how how right" p. 353 "xThe present" p. 415 "was thought" The text uses the following inconsistently: Carl and Karl contrabass and contra-bass Kozeluch and Koželuch Les Ruines de Babylon and Les ruines de Babilone nameday and name-day P.P. and P. P. pianoforte and piano-forte In addition, there are many inconsistencies in spelling and punctuation in quotations, which have not been changed. Grätz and Gratz are different names.
  • 19. *** END OF THE PROJECT GUTENBERG EBOOK THE LIFE OF LUDWIG VAN BEETHOVEN, VOLUME II *** 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
  • 20. THE FULL PROJECT GUTENBERG LICENSE
  • 21. 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.
  • 22. 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
  • 23. 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
  • 24. 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
  • 25. 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
  • 26. 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.
  • 27. 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™
  • 28. 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
  • 29. 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
  • 30. 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.
  • 32. Welcome to our website – the perfect destination for book lovers and knowledge seekers. We believe that every book holds a new world, offering opportunities for learning, discovery, and personal growth. That’s why we are dedicated to bringing you a diverse collection of books, ranging from classic literature and specialized publications to self-development guides and children's books. More than just a book-buying platform, we strive to be a bridge connecting you with timeless cultural and intellectual values. With an elegant, user-friendly interface and a smart search system, you can quickly find the books that best suit your interests. Additionally, our special promotions and home delivery services help you save time and fully enjoy the joy of reading. Join us on a journey of knowledge exploration, passion nurturing, and personal growth every day! testbankbell.com