100% found this document useful (75 votes)
241 views19 pages

Solution Manual For Macroeconomics Canadian 1st Edition Karlan 007026094X 9780070260948

Solutions Manual
Copyright
© © All Rights Reserved
We take content rights seriously. If you suspect this is your content, claim it here.
Available Formats
Download as PDF, TXT or read online on Scribd
100% found this document useful (75 votes)
241 views19 pages

Solution Manual For Macroeconomics Canadian 1st Edition Karlan 007026094X 9780070260948

Solutions Manual
Copyright
© © All Rights Reserved
We take content rights seriously. If you suspect this is your content, claim it here.
Available Formats
Download as PDF, TXT or read online on Scribd
You are on page 1/ 19

Solution Manual for Macroeconomics Canadian 1st Edition Karlan

007026094X 9780070260948
Full link download:
Test Bank:
https://testbankpack.com/p/test-bank-for-macroeconomics-canadian-1st-edition-
hubbard-0137022107-9780137022106/

Solution Manual:
https://testbankpack.com/p/solution-manual-for-macroeconomics-
canadian-1st-edition-hubbard-0137022107-9780137022106/

Macroeconomics 1CE
Karlan/Morduch/Alam/Wong
Instructor’s Manual

CHAPTER 2
SPECIALIZATION AND EXCHANGE
Chapter Overview

Specialization and trade can make everyone better off. It is not surprising, then, that in an
economy driven by individuals seeking to make a profit or to make the biggest difference in
their communities, people specialize so as to exploit their comparative advantages. The
principle is as true for countries, like Canada and China, as it is for individuals picking their
careers. No government intervention is required to coordinate production. The great economic
thinker Adam Smith suggested the term invisible hand to describe this coordinating mechanism:

It is not from the benevolence of the butcher, the brewer, or the baker that we expect our
dinner, but from their regard to their [self-interest]. . . . he intends only his own gain, and he is in
this, as in many other cases, led by an invisible hand to promote an end which was no part of his
intention. (A. Smith, An Inquiry into the Nature and Causes of the Wealth of Nations, 1776.)

The functioning of the invisible hand depends on a lot of other assumptions, such as free
competition, full information, and many others that do not always hold true in the real
world. Later in the book we will discuss these assumptions, and when they work and when
they do not.

Most people take for granted the prevalence of specialization and trade in their everyday lives.
Few stop to think about the benefits and where they come from. In this chapter we tried to dig
down to the bottom of the assumptions people make and expose the logic behind the gains
from trade. As we proceed—especially when we return to topics like international trade and
government intervention in the markets—students must remember the underlying incentive
that drives people to interact with one another in economic exchanges.
Learning Objectives

LO 2.1: Construct a production possibilities graph and describe what causes shifts in production
possibilities curves.
LO 2.2: Define absolute and comparative advantage.
LO 2.3: Define specialization and explain why people specialize.
LO 2.4: Explain how the gains from trade follow from comparative advantage.

Karlan 1CE Instructor’s Manual: Chapter 2 Copyright © 2017


McGraw-Hill Education. All rights reserved . 2-1
Macroeconomics 1CE
Karlan/Morduch/Alam/Wong
Instructor’s Manual

Chapter Outline

OPENING STORY: THE ORIGINS OF A T-SHIRT


Production Possibilities
Drawing the Production Possibilities Frontier (LO 2.1)
Choosing Among Production Possibilities
Shifting the Production Possibilities Frontier
Absolute and Comparative Advantage
Absolute Advantage (LO 2.2)
Comparative Advantage
BOX FEATURE: FROM ANOTHER ANGLE – BABE RUTH, STAR PITCHER
Why Trade?
Specialization (LO 2.3)
BOX FEATURE: REAL LIFE – SPECIALIZATION SAUCE
Gains from Trade (LO 2.4)
BOX FEATURE: WHAT DO YOU THINK? – IS SELF-SUFFICIENCY A VIRTUE?
Comparative Advantage over Time
BOX FEATURE: REAL LIFE – COMPARATIVE ADVANTAGE: THE GOOD, THE BAD, AND THE
UGLY

Beyond the Lecture

Class Discussion: Production Possibilities (LO 2.1)


In order to highlight the concept of the production possibilities curve, have students
consider the production possibilities curve for a student deciding how to study for two
exams given a fixed timeframe. This helps to highlight the concept of tradeoffs for students,
as you can ask them to consider the tradeoff between grades on the two exams. Assume
that the students have a fixed number of hours in one evening to study for two large exams
the following day.
1. What tradeoffs does a student face when deciding how to spend his or her time?
2. What factors should the student consider when making the decision regarding how to
study?
3. Why might different students make different decisions regarding how to spend the
hours studying?

Class Discussion: Absolute and Comparative Advantage (LO 2.2)


Have students view a brief clip from the movie Tommy Boy to highlight comparative
advantage, specifically from 52:26 – 55:43 (or a little longer if you prefer). In the clip, Tommy
(Chris Farley) and Richard (David Spade) realize their relative strengths: Tommy is a people
person and Richard is good with numbers.

Karlan 1CE Instructor’s Manual: Chapter 2 Copyright © 2017


McGraw-Hill Education. All rights reserved . 2-2
Macroeconomics 1CE
Karlan/Morduch/Alam/Wong
Instructor’s Manual

1. What are Tommy’s skills relative to Richard’s?


2. How could they utilize their relative strengths? Do they do this in the movie?
3. How do people try to leverage their comparative advantage in reality?

Writing Assignment: Specialization (LO 2.3)


Have students read (or listen to the audio book for) I, Pencil by Leonard E. Read. Ask students to
write a brief essay on why no single individual can personally produce even a seemingly simple
product like a pencil.

Class Activity: Gains from Trade (LO 2.4)


A simple trading exercise can highlight the concept of gains from trade for students. Bring a
few bags of chips or other snacks to class and distribute them to students (you may choose
only a few students for this activity in a large lecture).

1. Ask each student to rate their satisfaction with the snack you’ve given them on a
scale from 1-10, with 1 being highly dissatisfied and ten being highly satisfied. Record
their answers somewhere where all students can see.
2. Ask the students if they want to trade, and give them a few minutes to interact and
exchange snacks. (Remind them that it must be voluntary—they do not have to trade if
they do not wish to.)
3. Ask the students about their satisfaction again, this time with their new snack. Have the
students explain any changes in their answer from before.

After trading, students should be at the very least equally as well off in terms of satisfaction as
the first time they answered. This exercise can be used to highlight the gains from trade. You
can also discuss the fact that the original distribution matters as well. This can tie into a number
of discussions, including income distribution and comparative advantage.

Solutions to End-of-Chapter Questions and Problems

Review Questions

1. You’ve been put in charge of a bake sale for a local charity, at which you are planning to sell
cookies and cupcakes. What would a production possibilities graph of this situation show?
[LO 2.1]

Answer: On one axis, the production possibilities graph would show the total number of
cookies you could bake if you spent all of your time and resources baking cookies. The other
axis would show the total amount of cupcakes you could bake if you spent all of your time
and resources baking cupcakes. The two endpoints would be connected by a downward-
sloping line. The slope of this line would represent the tradeoff (opportunity cost) you face
between baking cookies and baking cupcakes. If you bake more cupcakes, you must bake
Karlan 1CE Instructor’s Manual: Chapter 2 Copyright © 2017
McGraw-Hill Education. All rights reserved. 2-3
Macroeconomics 1CE
Karlan/Morduch/Alam/Wong
Instructor’s Manual

fewer cookies. The production possibilities graph would show all of the combinations of
cookies and cupcakes you could produce with your time and resources.

2. You manage two employees at a pet salon. Your employees perform two tasks: giving flea
baths and grooming animals. If you constructed a single production possibilities frontier for
flea baths and grooming that combined both of your employees, would you expect the
production possibilities frontier to be linear (a straight line)? Explain why or why not. [LO
2.1]

Answer: You would not expect a production possibilities frontier that combined both
of your employees to be linear. Each worker would likely differ in her relative skills at
grooming and giving flea baths and would therefore differ in the opportunity cost for
performing each task.

3. Back at the bake sale (see review question 1), suppose another volunteer is going to help you
bake. What would it mean for one of you to have an absolute advantage at baking cookies or
cupcakes? Could one of you have an absolute advantage at baking both items?
[LO 2.2]

Answer: If you have an absolute advantage in the production of cupcakes (or cookies) it
means that you can produce more cupcakes (or cookies) in total with the same amount of
resources than the other volunteer. Absolute advantage is about having greater
productivity. You could have an absolute advantage in baking both cupcakes and cookies
if you are more productive in both goods than the other volunteer.

4. What would it mean for you or the other volunteer to have a comparative advantage at
baking cookies or cupcakes? Could one of you have a comparative advantage at baking
both items? [LO 2.2]

Answer: If you had a comparative advantage in baking cookies, it would mean that you have
a lower opportunity cost (you give up fewer cupcakes for each cookie you bake) than the
other volunteer. It is not possible for you to have a comparative advantage in baking both
goods. If you have a comparative advantage in baking cookies, the other volunteer will have
a comparative advantage in baking cupcakes.

5. Suppose you have a comparative advantage at baking cookies, and the other volunteer has a
comparative advantage at baking cupcakes. Make a proposal to the volunteer about how to split
up the baking. Explain how you can both gain from specializing, and why. [LO 2.3]

Answer: If you have a comparative advantage in baking cookies and the other volunteer has a
comparative advantage in baking cupcakes, then you should specialize in baking cookies and
the other volunteer should specialize in baking cupcakes. If you spend all of your time
Karlan 1CE Instructor’s Manual: Chapter 2 Copyright © 2017
McGraw-Hill Education. All rights reserved. 2-4
Another document from Scribd.com that is
random and unrelated content:
KUUDESYHDEKSÄTTÄ LUKU.

Uskollisen rakkauden palkinto.

Samana yönä, jolloin Serbian Aleksanteri ja Draga niin hirmuisella


tavalla murhattiin, otettiin hengiltä myöskin Nicodem Lunjevica, yksi
aikansa hirmuisimpia ilmiöitä.

Hän luuli sinä yönä saavansa levätä Saroltan sylissä. Sarolta ottikin
hänet vastaan hurmaavassa puvussa. Hän heittäytyi Nicodemin syliin ja
suuteli häntä hellästi. Mutta tuskin he olivat ehtineet hyväillä toisiansa,
kun talon portti äkkiä jyrisi ja kun ei se heti avautunut, lyötiin portti
sisään ja salaliittolaiset tunkeutuivat sisälle. Nicodem haki revolverinsa,
mutta hänelle ei annettu aikaa sitä käyttää. Ennenkuin hän ehti siihen
tarttua oli jo hyökätty hänen päällensä ja hänet vangittu.

- Kurjat, mitä uskallatte tehdä, oletteko tulleet mielettömiksi? Enkö


minä ole kuningattaren veli, enkö minä ole vallanperijä? huusi Nicodem.

- Nyt ei ole enää kuningatarta, sisaresi makaa murskattuna kadulla


konakin ulkopuolella lankosi rinnalla. Kuningas ja kuningatar ovat
molemmat kuolleet!

Silloin tiesi Nicodem, että hänen viimeinen hetkensä oli tullut ja


meidän täytyy rehellisesti myöntää, ettei hän suinkaan pelkurimaisesti
mennyt kuolemaan. Tyyneenä ja vastarintaa tekemättä antoi hän viedä
itsensä ulos kadulle, asettui lyhtypylvään viereen ja huudahti:
- Ampukaa sitte, koirat, mutta tähdätkää ainakin varmasti. Näytelmä
on loppunut, se oli todellakin kappale, joka huvitti minua suuresti. Nyt
jälestäpäin maksan minä pääsymaksun.

Samassa kiväärit pamahtivat ja Lunjevica vaipui kuolleena maahan.

Mutta vielä on eräs henkilö, joka sinä yönä sai surmansa. Se oli
arvoisa täti Eufemia. Melun säikyttämänä harhaili hän ympäriinsä
konakissa. Hän päätti vihdoin pelastua erään takaportaan kautta. Mutta
hädissään astui hän harhaan ja syöksyi päälleen alas portaita.

Niska musertui ja hän jäi makaamaan aliselle portaalle. Hänkin oli


saanut rangaistuksensa.

*****

Mutta pois nämä synkät kuvat, pois Belgradin veriyön muistot.

Nyt on Serbia Pietari Karageorgevitschissa saanut oikeamielisen


kuninkaan, joka kykenee parantamaan ne monet haavat, jotka Draga on
maalle tuottanut, edellyttäen, että hän saa rauhassa sitä tehdä. Hän on
eroittanut virastaan kuningas Aleksanterin murhaajat, tosin vasta sitte
kun eurooppalaiset vallat hänet siihen pakoittivat.

Yksi onnellinen pari löytyy sentään Serbiassa, nimittäin Stefan


Naumovitsch ja hänen Geniansa. He olivat vihdoin löytäneet toisensa ja
olivat yhdistetyt molemminpuolisessa rakkaudessa. He asuvat kauniissa
Wienissä, samassa talossa, joka kuului Genian vanhemmille ja jonka nyt
Genia omistaa.

Jos kävelee Wienin Praternissa, niin voi kauniina päivinä kello 3:men
ja 5:den välillä nähdä kauniit ajoneuvot, joissa istuu nuori pari, joka
herättää huomiota kauneudellaan ja terävä katsoja voi heti huomata, että
siinä on kaksi onnellista ihmistä.
Ne ovat Stefan Naumovitsch ja Genia, jotka ovat kunnioitetut ja
suositut Wienin parhaissa piireissä. Sillä heidän elämäntarinansa
tunnetaan ja tiedetään, että Serbian pahahenki on raivoissaan heitäkin
vainonnut, mutta että he eivät langenneet Dragan uhriksi, sillä Jumala
suojeli heitä uskollisen rakkautensa tähden.

Loppu.
*** END OF THE PROJECT GUTENBERG EBOOK KUNINGATAR
DRAGAN RAKKAUSSEIKKAILUT JA KUNINGAS
ALEKSANTERIN ONNETON KOHTALO ***

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.

You might also like