Download as pdf or txt
Download as pdf or txt
You are on page 1of 37

(eBook PDF) Mechanics of Materials by

Paul S. Steif
Go to download the full and correct content document:
https://ebooksecure.com/product/ebook-pdf-mechanics-of-materials-by-paul-s-steif/
More products digital (pdf, epub, mobi) instant
download maybe you interests ...

(eBook PDF) Mechanics of Materials 8th Edition by


Ferdinand Beer

http://ebooksecure.com/product/ebook-pdf-mechanics-of-
materials-8th-edition-by-ferdinand-beer/

Mechanics of Materials 10th Edition (eBook PDF)

http://ebooksecure.com/product/mechanics-of-materials-10th-
edition-ebook-pdf/

(eBook PDF) Mechanics of Materials 8th Edition by James


M. Gere

http://ebooksecure.com/product/ebook-pdf-mechanics-of-
materials-8th-edition-by-james-m-gere/

(eBook PDF) Mechanics of Materials 9th Editin by Barry


J. Goodno

http://ebooksecure.com/product/ebook-pdf-mechanics-of-
materials-9th-editin-by-barry-j-goodno/
(Original PDF) Statics and Mechanics of Materials 2nd
Edition by Ferdinand Beer

http://ebooksecure.com/product/original-pdf-statics-and-
mechanics-of-materials-2nd-edition-by-ferdinand-beer/

(eBook PDF) Statics and Mechanics of Materials 5th


Edition

http://ebooksecure.com/product/ebook-pdf-statics-and-mechanics-
of-materials-5th-edition/

(eBook PDF) Statics and Mechanics of Materials 3rd


Edition

http://ebooksecure.com/product/ebook-pdf-statics-and-mechanics-
of-materials-3rd-edition/

(eBook PDF) Mechanics of Materials, SI Edition 9th


Edition

http://ebooksecure.com/product/ebook-pdf-mechanics-of-materials-
si-edition-9th-edition/

(eBook PDF) Mechanics of Materials: An Integrated


Learning System 4th

http://ebooksecure.com/product/ebook-pdf-mechanics-of-materials-
an-integrated-learning-system-4th/
Apago PDF Enhancer
Contents Unit 2
Common Deformation Modes

Preface viii 3
To the Student (pg. viii)
To the Instructor (pg. viii)
Axial Loading 84
Resources for Instructors (pg. ix) 3.1 Internal Force–Deformation–Displacement (pg. 86)
Resources for Students (pg. ix) 3.2 Varying Internal Force (pg. 92)
Acknowledgments (pg. x) 3.3 Systems of Axially Loaded Members (pg. 100)
About the Author (pg. xi) 3.4 Statically Indeterminate Structures (pg. 108)
3.5 Thermal Effects (pg. 120)
3.6 Wrapped Cables, Rings, and Bands (pg. 128)

1
Introduction 2 4
1.1 Why Study Mechanics of Materials? Torsion 136
(pg. 4)
1.2 How Mechanics of Materials Predicts 4.1 Rotation (pg. 138)
Deformation and Failure (pg. 6) 4.2 Shear Strain in Circular Shafts (pg. 140)
1.3 Review of Statics—Forces, Subsystems, 4.3 Application and Transmission
and Free Body Diagrams (pg. 8) of Torque (pg. 148)
1.4 Review of Statics—Representing Force 4.4 Shear Stress in Circular Shafts (pg. 150)
Interactions Simply (pg. 10) 4.5 Strength and Stiffness (pg. 162)
1.5 Review of Statics—Conditions of Equilibrium 4.6 Dependence of Stiffness and Strength on Shaft
(pg. 12) Properties (pg. 164)
1.6 Road Map of Book (pg. 16) 4.7 General Guidelines for Torsional Stiffness
Apago PDF Enhancer of Non-Circular Cross-Sections (pg. 166)
4.8 Torsion of Shafts with Rectangular Cross-Sections
(pg. 176)

Unit 1 4.9

4.10
Torsion of Shafts with Thin-Walled Cross-Sections
(pg. 178)
Shafts with Non-Uniform Twisting Along Their
Body Composed of Elements Lengths (pg. 186)
4.11 Internal Torque and the Relation to Twist
and Stress (pg. 188)
2 4.12 Relation Between Senses and Signs of Internal
Torque,Twist, and Stress (pg. 190)
4.13 Shafts with Varying Cross-Sections (pg. 192)
Internal Force, Stress, 4.14 Statically Indeterminate Structures Subjected
and Strain 18 4.15
to Torsion (pg. 202)
Power-Torque-Speed Relations for Rotating
Shafts (pg. 210)
2.1 Elements (pg. 20)
2.2 Internal Force (pg. 22)
2.3 Normal Stress (pg. 32)
2.4
2.5
Normal Strain (pg. 40)
Measuring Stress and Strain (pg. 48)
5
2.6 Elastic Behavior of Materials (pg. 50)
2.7 Failure and Allowable Limit on Stress
Bending 218
(pg. 58)
2.8 Variety of Stress–Strain Response (A) Shear Forces and Bending Moments
(pg. 60) 5.1 Deformation in Bending (pg. 220)
2.9 Shear Strain and Shear Stress (pg. 68) 5.2 Beams, Loads, and Supports (pg. 222)
2.10 Shear and Bearing Stress in Pin Joints 5.3 Internal Loads in Beams (pg. 224)
(pg. 70) 5.4 Internal Loads by Isolating Segments (pg. 226)
5.5 Variation of Internal Loads with Applied
Loads (pg. 232)

vi | CONTENTS
(B) Stresses Due to Bending Moments 7.7 Failure for Stresses in 3-D (pg. 454)
5.6 Strain Distribution in Bending (pg. 250) 7.8 2-D Strain Transformations and Strain
5.7 Stresses in Bending (pg. 252) Rosettes (pg. 460)
5.8 Bending Equations (pg. 262) 7.9 Fatigue (pg. 466)
5.9 Bending of Composite Cross-Sections (pg. 272) 7.10 Stress Concentrations (pg. 468)
5.10 Bending Stresses Under a Non-Uniform Bending
Moment (pg. 280)
5.11

5.12
Dependence of Stiffness and Strength
on Cross-Section (pg. 290)
Bending of a Beam Composed of Multiple
8
Layers (pg. 296) Buckling 480
5.13 Bending of General (Non-Symmetric)
Cross-Sections (pg. 298) 8.1 Buckling of Axially Loaded, Simply Supported
(C) Stresses Due to Shear Forces Members (pg. 482)
5.14 Transverse Shear Stress (pg. 304) 8.2 Buckling of Axially Loaded Members—Alternative
5.15 Shear Flow—Thin-Walled and Built-Up Support Conditions (pg. 484)
Cross-Sections (pg. 310) 8.3 Design Equations for Axial Compression (pg. 486)
(D) Deflections Due to Bending Moments
5.16 Deflections Related to Internal Loads (pg. 318)
5.17 Deflections Using Tabulated Solutions (pg. 328) Appendices 501
5.18 Simple Generalizations of Tabulated
Solutions (pg. 332) A. Focused Applications for Problems (pg. 501)
5.19 Complex Generalizations of Tabulated A-1 Bicycles (pg. 502)
Solutions (pg. 344) A-2 Cable-Stayed Bridges (pg. 504)
5.20 Statically Indeterminate Structures Subjected A-3 Drilling (pg. 506)
to Bending (pg. 354) A-4 Exercise Equipment (pg. 508)
A-5 Fracture Fixation (pg. 510)
A-6 Wind Turbines (pg. 512)

Unit 3 B. Theory of Properties of Areas (pg. 514)


B-1 Centroid and Second Moment of Inertia (pg. 514)
B-2 Products of Inertia and Principal Axes of Inertia
Design Against (pg. 516)
Apago PDF Enhancer
C. Tabulated Properties of Areas (pg. 522)

6 D.
E.
Material Properties (pg. 525)
Geometric Properties of Structural Shapes (pg. 526)
F. Wood Structural Member Properties (pg. 535)
Combined Loads 364 G. Tabulated Beam Deflections (pg. 536)
G-1 Deflections and Slopes of Cantilever Beams
6.1 Determining Internal Loads (pg. 366) (pg. 536)
6.2 Drawing Stresses on 3-D Elements (pg. 372) G-2 Deflections and Slopes of Simply Supported Beams
6.3 Pressure Vessels (pg. 380) (pg. 538)
6.4 Elastic Stress–Strain Relations (pg. 386) H. Stress Concentration Factors (pg. 540)
6.5 Deflections Under Combined Internal Loads I. Advanced Methods and Derivations (pg. 542)
(pg. 392) I-1 Shear Stress and Twist in Thin-Walled Shaft
6.6 Strain Energy (pg. 398) Subjected to Torsion (pg. 542)
6.7 Solving Problems Using Conservation I-2 Method of Singularity Functions (pg. 544)
of Energy (pg. 400) I-3 Derivation of Stress Transformation Formulas (pg. 548)
I-4 Derivation of Equations for Maximum Normal

7 and Shear Stress (pg. 549)

Stress Transformations Answers to Selected


and Failure 412 Problems 552
7.1 Goal of Chapter, and Strain is in the Eye
of the Beholder (pg. 414)
7.2 Defining Stresses on General Surfaces (pg. 416)
Key Terms 562
7.3 Stress Transformation Formulas (pg. 424)
7.4 Maximum and Minimum Stresses (pg. 432)
7.5 Mohr’s Circle (pg. 440) Index 564
7.6 Failure Criteria (pg. 446)

CONTENTS | vii
Preface
To the Student
This book introduces you to an exciting subject of immense application: how the forces
acting on a material relate to its deformation and failure. The range of technologies that
rely on insights from Mechanics of Materials is vast. They span applications that have seen
continual innovation and refinement over many years, such as aerospace structures and
propulsion, bridge design, automotive technologies, and prosthetic devices. And, Mechan-
ics of Materials underlies applications that were scarcely imaginable a few years ago:
atomic force microscopes, micro-scale robotics, wireless sensors for structural monitoring,
and engineered biological tissues. Mechanics of Materials can be satisfying in another
more personal way. It helps us make sense of countless interactions that we have with
everyday artifacts: why some are too flimsy, too rigid, or prone to break at certain points.
It is likely you are studying this subject because it is required for your major. But you may
have multiple goals: to pass the course or get a good grade, to be intellectually engaged and
exercise your mind and curiosity, and to learn something that you can use in later courses
or in life outside your courses. Every one of those goals points you in the same direction—
to genuinely learn the subject. That means gaining a physical and intuitive feel for its ideas,
seeing the big picture, and fitting the ideas together. By just thumbing through this book, you
will know it is different from most books you have seen. Let me tell you how the
arrangement of this book might help you learn.
We can only communicate the ideas of Mechanics of Materials with a combination of
words, diagrams, and equations. The equation might be necessary to get a quantitative
answer or to judge a trend; for example, should a part be thicker or thinner, longer or shorter.
But, in real life you are rarely handed the right equations. Someone explains a situation to
you with words and diagrams, and you need to make sense of it. Only after you have thought
Apago PDF Enhancer
about the words and the diagrams, might you see an equation as useful. For this reason,
I have tried to write a book in which words, diagrams, and equations are in balance. In
addition, I have laid out this book so the words, diagrams, and equations are near each other
on the page to better help you solidify the ideas.
You might also notice a high degree of organization. Each chapter is a series of two-page
spreads or sections, with each section dedicated to developing one idea or concept. Further,
each two-page spread consists of subsections that break the idea into bite-size pieces. Not
only do we break this subject apart for you, we help you put it back together. The Chapter
Opener presents the major ideas of the chapter in diagrams and words. At the end of each
chapter, we summarize its sections, including the major equations, concepts, and key terms.
Finally, Chapters 2 through 8 are grouped into 3 units that capture the overall structure of
the subject.
You might also notice many everyday objects depicted on the pages. Familiar, everyday
objects can often illustrate the ideas of Mechanics of Materials. To genuinely learn this
subject, the ideas must ultimately make sense to you. But you are more likely to make sense
of new ideas if you see them first in a familiar context. This book tries to take situations that
you can already picture, and reframe them in more general, powerful ways. I hope you come
to rely on those general ideas and wield them effectively as you explore new applications
unimagined today.

To the Instructor
I wrote this book because I love to help other people understand mechanics. I have taught
this subject for many years, and I still get excited when I come upon a new way of explain-
ing or illustrating some concept. Often, I bring an object into class—a bungee cord, a pool
noodle, a ruler—and I deform it, sometimes with students’ help. I point to the deformation,
which they can see, and I ask the student helpers what they feel. With this book, I hope to
capture some of that classroom experience.

viii | P R E FAC E
Let me share some of the pedagogic philosophy that informs this book. I think most
instructors want students:
1. to understand the concepts in some intuitive way;
2. to grasp the big picture, that is, to see the forest as well as the individual trees;
3. to use the subject to solve problems.
First, to an intuitive understanding of concepts, there are few more important goals than
helping students attach physical meaning to the variables and symbols we use, and to their
relations with each other. I rarely start with the general case. Instead, I start with a simple
situation that exemplifies the idea. This helps to anchor the idea in each students’ world.
Then, we build a more general mathematical representation, as we need it. Students can
picture deformation far better than they can picture forces. So, for most topics, we begin
with the deformation, to anchor the topic in reality for the students, and next we deal with
the associated forces.
To help students grasp the subject’s larger, coherent structure, we have identified the core
question that it answers: will a body deform too much or fail (Chapter 1)? And, we have
grouped the remaining chapters into three units that delineate how this question is answered.
First, we choose to view a body that deforms and may fail as composed of many small,
identical pieces or elements (Chapter 2). This step is necessary to address failure, which
usually occurs locally, and to separate out the respective contributions of the body’s shape
and material to the force-deformation relations. Second, we identify three common modes
of deformation: stretching, twisting, and bending, which appear repeatedly in engineering
and nature (Chapters 3–5). Each mode deserves to be studied independently, considering the
deformations and forces overall and within each element. Third, to address deformation and
failure in more general situations, we recognize the presence of these common deformation
modes, and combine their contributions appropriately (Chapters 6–8). To reinforce the big
picture set forth in Chapter 1, the conceptual overview at the start of each chapter features
a map that locates the chapter in the overall structure of the subject.
For good reason, the problems in a textbook are very important to most instructors. This
book contains problems that illustrate ideas, concepts, and procedures, as well as problems
Apago PDF Enhancer
that demonstrate applications to real situations. Studying Mechanics of Materials can also
offer students a chance to learn about interesting applications. To this end, I have devised a
number of problems that highlight selected focused application areas: bicycles, cable-stayed
bridges, drilling of wells, exercise equipment, bone fracture fixation, and wind turbines.
Focused Application Problems are sprinkled throughout the chapters. The diagram for each
such problem references Appendix A, in which that application is described at greater
length. An interested student can see how the situation depicted in a single problem fits into
the overall application. For different assignments, an instructor can select problems from the
same focused application area or problems from a variety of applications.
I hope this book serves your efforts to motivate and teach your students.

Resources for Instructors


• Instructor’s Solutions Manual. An instructor’s solutions manual was prepared
by the author. The manual was also checked as part of the Accuracy Checking program.
• Presentation Resources. All art from the text is available in PowerPoint slide
and JPEG format. These files are available for download from the Instructor Resource
Center at www.pearsonhighered.com/steif. If you are in need of a login and password for
this site, please contact your local Pearson Prentice Hall representative.

Resources for Students


• MasteringEngineering. Tutorial homework problems emulate the instructor’s
office–hour environment, guiding students through engineering concepts with self-
paced individualized coaching. These in-depth tutorial homework problems are
designed to coach students with feedback specific to their errors and optional hints that
break problems down into simpler steps.

P R E FAC E | ix
Acknowledgments
Prentice Hall has been a pleasure to work with during the development of this book. I am
fortunate to have had continuing guidance and encouragement from three Acquisitions
Editors: Eric Svendsen, Tacy Quinn, and Norrin Dias, as well as the insight and enthusiasm
throughout from Editorial Director Marcia Horton. This project has benefited greatly from
the attention of Marketing Manager Tim Galligan, who helped to shape my appreciation
for the multiple audiences this book should seek to satisfy. I am grateful to Senior
Managing Editor Scott Disanno, who has both overseen the production of the book and
provided the fresh, clear eye that honed the manuscript at its final stages. Designer Blair
Brown brought a magical touch and excitement to this unusual project, and I am grateful
for his efforts and the fun I had working with him. The expertise of J.C. Morgan and lead
artist Matt Harshbarger at Precision Graphics has contributed significantly to the final
product, and I am grateful for their patience as the book and artwork evolved. The
distinctive integration of text, equations, and artwork in this book could not have been
realized without Anoop Chaturvedi and the composition services of MPS Limited. Other
than perhaps myself, no one spent more time or agonized more in bringing this project to
fruition than Sr. Production Project Manager Clare Romeo. She has been a joy to work
with, and I cannot thank her enough for her knowledge, expertise, attention to detail,
patience, and humor.
Thank you to the reviewers: Paolo Gardoni, Texas A&M University; Joao Antonio,
Colorado State University; Joel J. Schubbe, U.S. Naval Academy; Daniel A. Mendelsohn,
Ohio State University; Laurence J. Jacobs, Georgia Tech; Eduard S. Ventsel, Pennsylvania
State University; Dashin Liu, Michigan State University; Candace S. Sulzbach, Colorado
School of Mines; Amir G. Rezaei, California State Polytechnic University, Pomona;
Marck French, Purdue University; Niki Schulz, Oregon State University; Jim Morgan,
Texas A&M University; Shane Brown, Washington State University; Christine B. Masters,
Pennsylvania State University; Craig Menzemer, University of Akron; Edwin C. Rossow,
Northwestern University; Anna Dollár, Miami University; Mark E. Walter, Ohio State
University; David Baldwin, University of Oklahoma; Kevin Collins, United States Coast
Apago PDF Enhancer
Guard Academy; He Liu, University of Alaska Anchorage; and Anthony J. Paris,
University of Alaska Anchorage. At several points during its development, extensive and
thoughtful input from the reviewers was critically important in helping the book take
shape. Their time and efforts are greatly appreciated.
I am also grateful to faculty members and students who offered ideas for realistic
applications and problems, including Jim Papadopoulos, Yoed Rabin, Dustyn Roberts, and
Jonathan Wickert. Billy Burkey, Chris D’eramo, Anthony Fazzini, Rob Keelan, Michael
Reindl, David Urban, and Derek Wisnieski provided valuable assistance in dimensions and
images for a number of application problems. Advice on graphics from Erick Johnson
towards the end of project was very helpful. I thank my assistant, Bobbi Kostyak, who
provided help with many details that arose. I have relied often, to my great satisfaction, on
the design and artistic sense of Ariela Steif, for which I am grateful.
This book has benefited from the many years I have fruitfully and joyfully discussed the
learning of mechanics with my long-time friend and collaborator, Anna Dollár. I credit my
friend and collaborator, Marina Pantazidou, for giving a pivotal nudge that convinced me to
write this book, and for supplying ongoing encouragement in education endeavors generally.
I want to thank Robbin Steif for the significant role she played at the start of this project.
My own teachers provided the foundation for my fascination with the subject of
mechanics. I have in turn had the pleasure of getting to know many students over the years
in my classes. They have helped me recognize the challenges in learning mechanics, and the
practical situations in which mechanics comes alive.
During much of the writing of this book, I was fortunate to have the companionship,
warmth, and good wishes of many fellow denizens of the Galleria.
My family life provides the perfect counterpoint to my work, and I thank my loved ones,
Michelle, Ariela, Talia, and Marigny for making that family life such a desirable distraction
to writing this book.
PAUL S. STEIF
Carnegie Mellon University

x | P R E FAC E
About the Author
Professor Paul S. Steif has been a faculty member in the Department of Mechanical
Engineering at Carnegie Mellon University since 1983. He received a Sc.B. degree in
engineering mechanics from Brown University; M.S. and Ph.D. degrees in applied
mechanics from Harvard University; and was National Science Foundation NATO Post-
doctoral fellow at the University of Cambridge. As a faculty member his research has
addressed a variety of problems, including the effects of interfacial properties on fiber-
reinforced composites, bifurcation and instabilities in highly deformed layered materials,
and stress generation and fracture induced by cryopreservation of biological tissues.
Dr. Steif has also contributed to engineering practice through consulting and research on
industrial projects, including elastomeric damping devices, blistering of face seals, and
fatigue of tube fittings.
Since the mid-1990s, Dr. Steif has focused increasingly on engineering education,
performing research on student learning of mechanics concepts, and developing new course
materials and classroom approaches. Drawing upon methods of cognitive and learning
sciences, Dr. Steif has led the development and psychometric validation of the Statics
Concept Inventory—a test of statics conceptual knowledge. He is the co-author of Open
Learning Initiative (OLI) Engineering Statics. Dr. Steif is a Fellow of the American Society
of Mechanical Engineers and recipient of the Archie Higdon Distinguished Educator Award
from the Mechanics Division of the American Society for Engineering Education.

Apago PDF Enhancer

P R E FAC E | xi
Resources to Accompany Steif, Mechanics of Materials, 1e

MasteringEngineering is the most technologically advanced online tutorial and


homework system. It tutors students individually while providing instructors with rich
teaching diagnostics.
Used by over a million students, the Mastering platform is the most effective and widely used
online tutorial, homework, and assessment system for the sciences and engineering. A wide
variety of published papers based on NSF-sponsored research and tests illustrate the benefits of
MasteringEngineering. To read these papers, please visit www.masteringengineering.com.

MasteringEngineering for Students


MasteringEngineering improves understanding. As an Instructor-assigned homework and
tutorial system, MasteringEngineering is designed to provide students with customized coaching
and individualized feedback to help improve problem-solving skills. Students complete
homework efficiently and effectively with tutorials that provide targeted help.

 Immediate and specific feedback shows students their mistakes while they are working on the
problem. This allows them to see the explanation behind their misconceptions.

Apago PDF Enhancer

Hints provide individualized


coaching and specific feedback
on common errors. This helps
explain why a particular
concept is not correct.
MasteringEngineering for Instructors
Incorporate dynamic homework into your course with automatic grading and adaptive
tutoring. Choose from a wide variety of stimulating problems, including Mohr’s Circle,
Shear and Bending Moment Diagrams, algorithmically-generated problem sets, and more.
MasteringEngineering emulates the instructor’s office-hour environment, guiding students
through engineering topics with self-paced tutorials that provide individualized coaching.

 One click compiles all


your favorite teaching
diagnostics—With a single
click, charts summarize the
most difficult problems,
vulnerable students, grade
distribution, and even score
improvement over the
course.

Apago PDF Enhancer

 Color-coded
gradebook—Shades of
red instantly highlight
vulnerable students and
challenging assignments.

Contact your Pearson Prentice Hall representative for more information.


This page intentionally left blank

Apago PDF Enhancer


Mechanics
of
Materials
Apago PDF Enhancer
Introduction to
Mechanics of
Materials Excessive deformation . . .
Mechanics of Materials
can help with that . . .

If I knew the factors that


affect the sagging, I could
I need to do something redesign the shelf so it
about that sagging shelf . . . sags less . . .

How do I model this shelf?

The shelf is bending under the weight of those books, and it’s resting q
on the brackets at the ends. In Mechanics of Materials I can represent
this shelf approximately as a beam with simple supports. I can
Apago PDF Enhancer
approximate the books as applying a uniformly distributed force
on the beam. L

What key result do I need


from analyzing the model?

The maximum deflection v at the center


of the shelf is given by this equation: q: the force per length
applied by the books
L: the length of the shelf
between the brackets

5qL4
v =
384EI
I: the second moment of inertia —
it tells me how the width and
the thickness affect the bending

Thickness
E: the elastic modulus of the shelf —
it tells me how the stiffness of the material
itself, the wood, affects the bending Width
Chapter
From what I just learned, how
could I redesign the shelf?

I could make the shelf shorter, or maybe install


CONTENTS
1
another bracket under the center — might need
1.1 Why Study Mechanics of Materials?
some more analysis to see how much that helps . . .
(pg. 4)
1.2 How Mechanics of Materials Predicts
Deformation and Failure (pg. 6)
1.3 Review of Statics—Forces, Subsystems,
and Free Body Diagrams (pg. 8)
1.4 Review of Statics—Representing Force
Interactions Simply (pg. 10)
1.5 Review of Statics—Conditions
of Equilibrium (pg. 12)
1.6 Road Map of Book (pg. 16)

I could use a stiffer material — steel or aluminum, or a carbon-


reinforced composite — might be a little overkill for a bookshelf in
my apartment . . . The thickness of the shelf has much more effect
on the resistance to bending than does its width . . . So it could help
a lot to use a thicker board

Apago PDF Enhancer

Or I could put a much thicker reinforcing strip on the front . . . That


should help . . . I wonder by how much . . .

. . . Welcome to Mechanics of Materials

3
1.1 Why Study Mechanics of Materials?
The design of products, systems, and structures demands
the engineer to consider a broad range of issues. Here we identify
the issues addressed by Mechanics of Materials.

1. Account for deformation Forces acting on designed artifacts can be significant. All bodies deform under applied forces,
and the potential for failure and they can fail if the forces are sufficiently large.
when designing systems Mechanics of Materials addresses two prime questions:
subjected to forces.

How much does a body deform when subjected to forces?

When will forces applied to a body be large enough to cause the body to fail?
Deformation and failure depend on the forces and on the body’s material, size, and shape.

2. In most situations, try Usually, the structure or system must remain intact even when subjected to forces. If we know
to avoid failure and keep the forces under which failure would occur, we can design to avoid failure. Further, a system often
deformations within needs to remain close to its original shape to function properly. If we can quantify deformations,
acceptable limits. we can design the system to avoid undesirably large deformations.

This computerized welding system functions


properly only if the deflections of its track are
very small.

While a structure may still be intact, it could


Apago PDF Enhancer
be viewed as having failed if there is a
permanent deformation. A bicycle that has
deformed this much is unlikely to be useful.

A crack in a structure, such as this


support column, is a type of failure.
This crack may be repairable. A
structure that fractures completely
into two parts would clearly be
unacceptable.

4 CHAPTER 1 | Introduction to Mechanics of Materials


3. Deformation is desirable Some products must deform to carry
in some situations where out their function. They are designed
it depends predictably to have a desired relation between
on the forces. the deformation and the acting forces.
For example, such products include
pole vaults that flex to temporarily store
energy that later propels the vaulter,
mountings that accommodate motions
of helicopter blades, and support
springs that allow for deflection of
structural members.

Apago PDF Enhancer

4. Occasionally, failure is Although such circumstances are rare, we sometimes deliberately want failure to occur when loads
desirable, if it occurs at a reach a predetermined level. In expensive equipment, failure can be disastrous. So, engineers design
reproducible level of load. into the equipment an inexpensive extra part, which fails at a consistent force that is safely less than
the main components can tolerate. For the transmission shaft in a drive train, such a system that
protects the shaft is called a torque fuse. Just as an old fashioned electric fuse breaks when the current
is too high, the pins in the torque fuse break when the torque is too high.

>>End 1.1

1.1 | Why Study Mechanics of Materials? 5


1.2 How Mechanics of Materials Predicts
Deformation and Failure
A few very general scientific principles are needed to predict
deformation and failure. With very general principles, we can consider
bodies with a wide range of geometries and materials, which are
subjected to many types of loads. Mechanics of Materials introduces
these principles and applies them to bodies and loadings that can be
analyzed with relatively simple mathematics.

1. Separate out the effects To predict deformation and failure, mechanics of materials relies on a critical insight: any body can
of material and geometry by be viewed as an assemblage of tiny, in fact infinitesimal, cubic elements. This insight allows us
viewing a body as composed to separate out the effect of the body’s material from its shape. Since a tiny cube is a standard shape,
of many tiny elements. the relations between the cube’s deformation and the forces on it depend only on the material, for
example, the particular type of ceramic, metal, plastic, or wood. These relations can be measured
and described for a given material, and they are relevant to a body of any shape and size composed
of that material.

Apago PDF Enhancer

6 CHAPTER 1 | Introduction to Mechanics of Materials


2. Relate forces and Mechanics of materials defines stress and strain to describe force and deformation at the level
deformations at the element of an elemental cube. To determine a body’s overall deformation and potential for failure, we
level with those at the level combine (1) the material-specific stress–strain relations for a cubic element, (2) equilibrium
of the overall structure. relations between forces on the body as a whole and the forces on its elements, and (3) geometric
relations between deformations of the whole body and of its elements.

Equilibr
Stress ium

Force

Material
Deflection

tr y
Strain Geome

3. Recognize that loaded Engineers deal with deformation and failure in structures having a wide variety of shapes,
bodies often deform in simple materials, and loadings. However, in mechanics of materials, we study deformation and failure
patterns, namely, stretching, primarily for simple patterns of deformation: stretching, twisting, or bending.
twisting, or bending.
Stretching Twisting Bending

Apago PDF Enhancer

For each pattern, the overall loading is described by equal and opposite forces or moments at
the two ends. The overall deformation is described by a single parameter: how much the body
stretches, twists, or bends.

4. Study deflection and failure In mechanics of materials, we learn how the forces and deformations vary from one cubic element
for each pattern individually, to another for each deformation pattern. With that information, we interrelate the overall load and
and then how they combine. deformation for that pattern, and we find the load at which failure will occur. As a by-product,
we gain insight into how the body’s geometry (length and cross-section) and the body’s material
independently affect the overall deformation and failure.
Faced with applications that appear complex, we must also learn to detect the presence of these
simple deformation patterns, alone or, often, in combination. We typically analyze the deformations
and stresses in each pattern and then combine them appropriately to find the total deformation and
to determine if failure will occur.

>>End 1.2

1.2 | How Mechanics of Materials Predicts Deformation and Failure 7


1.3 Review of Statics—Forces, Subsystems,
and Free Body Diagrams
The forces that we study in Mechanics of Materials generally keep
the body in equilibrium, even if they also cause the body to deform.
For this reason, Statics, which addresses the forces on bodies
in equilibrium, is a critical prerequisite to Mechanics of Materials.
The central ideas of Statics are reviewed here.

1. A force represents A force describes the equal and opposite


a mechanical interaction mechanical interaction between two bodies, B
one upon the other. Since a force has a B
between two bodies, which
often are in contact. magnitude, direction, and sense, we represent it
mathematically by a vector. Two forces applied Force of
to a body at the same point have the same effect A on B
A Force of
as their vector sum. B on A

Whenever a force is drawn, it should be clear which body exerts the force on which body.
For example, in this vise-grip forces are exerted between the palm and the upper handle and between
the fingers and the lower handle. There are many other forces that one could consider in this
example.

Apago PDF Enhancer


Upper
handle

Lower
handle

2. Engineering systems In general, systems studied in engineering are composed of multiple parts. Any pair of contacting
of interest may consist parts can exert forces on each other. We must be prepared to consider all such forces and to
of multiple, interconnected quantify those deemed necessary.
parts, which exert forces This vise-grip consists of several connected parts. The clamped object and the lower jaw exert
on each other. forces on each other. The lower jaw and the lower handle exert forces on each other through
the indicated pin.

Upper
handle

Clamped
object

Lower Lower
jaw Pin handle

8 CHAPTER 1 | Introduction to Mechanics of Materials


3. All subsystems of a system A system that is at rest (or at least not accelerating) is in equilibrium. This vise-grip, which
in equilibrium are also in is squeezed by the hand and clamps an object, is in equilibrium.
equilibrium.

Any part or “subsystem” of a system in equilibrium is also in equilibrium. The lower jaw of the
vise-grip, which is highlighted in the figure, must also be in equilibrium.
Because it contacts other parts, each subsystem will typically have multiple forces acting on it.
The forces on the subsystem, acting in combination, keep the subsystem in equilibrium. The
mathematical conditions for equilibrium are presented later.

4. A free body diagram In a free body diagram (FBD), we draw a subsystem and all the forces directly exerted on it by
displays all forces that bodies external to the subsystem. The FBD is helpful because equilibrium of the subsystem is fully
affect the equilibrium determined by the forces drawn in the diagram.
of a subsystem. Draw forces due to
Draw forces due to pin connected to
clamped object here upper handle here
Here is the lower jaw of the vise-grip. In
an FBD of the lower jaw, we would draw
forces in the three regions where other
Apago PDF Enhancer
bodies touch the lower jaw. Draw forces due to
pin connected to
lower handle here

5. Select subsystems We can choose to focus on any subsystem. We choose particular subsystems because their FBDs
strategically to find forces contain forces of interest that we wish to determine.
of interest. Sometimes, we even consider a portion of a single part as a subsystem. This is important in
mechanics of materials, because we often need to find the internal force that acts within a part,
between one portion and another.

Draw “internal forces”


due to right portion

Left Right
portion portion

Draw “internal forces”


due to left portion

>>End 1.3

1.3 | Review of Statics—Forces, Subsystems, and Free Body Diagrams 9


Another random document with
no related content on Scribd:
Chant XLII. — Le combat de Lampéduse se termine par 124
la mort de Gradasse et d’Agramant, occis par la main
de Roland, qui accorde la vie à Sobrin. — Bradamante
se désole du retard de Roger. — Renaud, en allant sur
les traces d’Angélique, trouve un remède qui le guérit
de son amoureuse passion. S’étant remis en chemin
pour rejoindre Roland, il fait la rencontre d’un chevalier
qui le reçoit dans un magnifique palais orné de statues
représentant diverses dames de la maison d’Este. Son
hôte lui propose un moyen de s’assurer de la fidélité
de sa femme.
Chant XLIII. — Renaud entend raconter deux nouvelles,
l’une contre les femmes, l’autre contre les hommes qui
se laissent vaincre par l’ignoble passion de l’avarice.
Après un long chemin sur terre et sur mer, Renaud
arrive à Lampéduse, au moment où venait de se
terminer le combat entre les paladins et les païens. Ils
descendent tous en Sicile et, sur la plage d’Agrigente,
ils rendent les derniers honneurs aux dépouilles
mortelles de Brandimart. De là, ils vont à l’ermitage où
est Roger, devenu déjà chrétien. L’ermite rend la santé
à Olivier et à Sobrin, qui se fait aussi baptiser. 151
Chant XLIV. — Les cinq guerriers se lient d’une 202
fraternelle amitié. Renaud, tenant Roger en grande
estime, et sur les conseils de l’ermite, lui promet la
main de sa sœur Bradamante. De là, ils s’en vont à
Marseille, où arrive en même temps Astolphe, qui a
licencié son armée de Nubiens, et rendu sa flotte à son
premier état de feuilles. Les paladins et Sobrin sont
magnifiquement accueillis par Charles dans Paris,
mais la joie générale est troublée par le refus du duc
Aymon et de sa femme Béatrice de consentir à l’union
de Roger et de Bradamante, celle-ci ayant été déjà
fiancée par eux à Léon, fils de l’empereur des Grecs.
Roger prend ses armes et, plein de haine contre Léon,
il se transporte au camp des Bulgares qui sont en
guerre avec les Grecs. Il défait ces derniers, puis va
loger dans une hôtellerie qu’il ignore être située sur les
terres de l’empire grec. Il y est dénoncé comme
l’auteur du désastre éprouvé par les Grecs.
Chant XLV. — Roger, saisi pendant son sommeil, devient
le prisonnier de Théodora, sœur de l’empereur
Constantin. — Entre temps, Charles, à la requête de
Bradamante, a fait publier que quiconque voudra
l’avoir pour femme devra se battre avec elle et la
vaincre. — Léon, qui a conçu de l’amitié et de l’estime
pour Roger, sans le connaître, le tire de prison et
l’engage à combattre en son nom contre Bradamante.
Roger, portant les insignes de Léon, se bat contre la
guerrière. Survient la nuit ; Charles fait cesser le
combat et donne Bradamante à celui qu’il croit être
Léon. Roger, désespéré, veut se tuer ; mais Marphise
va trouver Charles et empêche ce mariage. 228
Chant XLVI. — Le poète, se sentant arriver au port,
nomme les nombreux amis qui l’attendent pour fêter
son retour. — Mélisse va à la recherche de Roger, et
lui sauve la vie avec le concours de Léon qui, ayant
appris le motif du désespoir de Roger, lui cède
Bradamante. Tous vont à Paris, où Roger, élu déjà roi
des Hongrois, est reconnu pour le chevalier qui a
combattu contre Bradamante. On célèbre les noces
avec une splendeur royale ; le lit nuptial est préparé
sous la tente impériale que Mélisse, grâce à son art
magique, a fait venir de Constantinople. Pendant le
dernier jour des fêtes, survient Rodomont qui défie
Roger ; le combat a lieu, et Rodomont reçoit la mort de
la main de Roger. 258
Notes 294

FIN DE LA TABLE DES MATIÈRES DU TOME QUATRIÈME ET DERNIER.


ACHEVÉ D’IMPRIMER
LE TRENTE AVRIL MIL HUIT CENT QUATRE-VINGT-UN
PAR A. QUANTIN
POUR
ALPHONSE LEMERRE, ÉDITEUR
A PARIS
*** END OF THE PROJECT GUTENBERG EBOOK ROLAND
FURIEUX, TOME 4 ***

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