Download as pdf or txt
Download as pdf or txt
You are on page 1of 32

Bontragers Textbook of Radiographic

Positioning and Related Anatomy 9th


Edition Lampignano Test Bank
Go to download the full and correct content document:
https://testbankfan.com/product/bontragers-textbook-of-radiographic-positioning-and-r
elated-anatomy-9th-edition-lampignano-test-bank/
More products digital (pdf, epub, mobi) instant
download maybe you interests ...

Radiographic Positioning and Related Anatomy 8th


Edition Bontrager Test Bank

https://testbankfan.com/product/radiographic-positioning-and-
related-anatomy-8th-edition-bontrager-test-bank/

Merrills Atlas of Radiographic Positioning and


Procedures Volume 2 13th Edition Long Test Bank

https://testbankfan.com/product/merrills-atlas-of-radiographic-
positioning-and-procedures-volume-2-13th-edition-long-test-bank/

Fundamentals of Anatomy and Physiology 9th Edition


Martini Test Bank

https://testbankfan.com/product/fundamentals-of-anatomy-and-
physiology-9th-edition-martini-test-bank/

Seeleys Essentials of Anatomy and Physiology 9th


Edition VanPutte Test Bank

https://testbankfan.com/product/seeleys-essentials-of-anatomy-
and-physiology-9th-edition-vanputte-test-bank/
Essentials of Radiographic Physics and Imaging 1st
Edition Johnston Test Bank

https://testbankfan.com/product/essentials-of-radiographic-
physics-and-imaging-1st-edition-johnston-test-bank/

Essentials of Radiographic Physics and Imaging 2nd


Edition Johnston Test Bank

https://testbankfan.com/product/essentials-of-radiographic-
physics-and-imaging-2nd-edition-johnston-test-bank/

Anatomy And Physiology 9th Edition Patton Test Bank

https://testbankfan.com/product/anatomy-and-physiology-9th-
edition-patton-test-bank/

Principles of Radiographic Imaging 5th Edition Carlton


Test Bank

https://testbankfan.com/product/principles-of-radiographic-
imaging-5th-edition-carlton-test-bank/

Human Anatomy and Physiology 9th Edition Marieb Test


Bank

https://testbankfan.com/product/human-anatomy-and-physiology-9th-
edition-marieb-test-bank/
Chapter 10: Bony Thorax—Sternum and Ribs
Lampignano: Bontrager’s Textbook of Radiographic Positioning and Related
Anatomy, 9th Edition

MULTIPLE CHOICE

1. The jugular notch corresponds to the level of:


a. T2-3.
b. T1.
c. T4-5.
d. C7.
ANS: A REF: 356

2. The xiphoid process corresponds to the vertebral level of:


a. T7.
b. T9-10.
c. T4-5.
d. L1-2.
ANS: B REF: 356

3. What is the joint space between the manubrium and body of sternum called?
a. Sternal notch
b. Costocartilage
c. Sternal angle
d. SC joint
ANS: C REF: 356

4. At approximately what age does the xiphoid process become totally ossified?
a. 12 years old
b. 21 years old
c. 40 years old
d. The xiphoid process never becomes ossified.
ANS: C REF: 356

5. Which of the following structures connects the anterior aspect of the ribs to the sternum?
a. Costocartilage
b. Sternal tendons
c. Costovertebral joints
d. Costotransverse joints
ANS: A REF: 357

6. The sternal angle is a palpable landmark at the level of:


a. T4-5.
b. T2-3.
c. T7.
d. T9-10.
ANS: A REF: 356

7. Which costocartilage attaches to the sternum at the level of the sternal angle?
a. First
b. Second
c. Third
d. Fourth and fifth
ANS: B REF: 357

8. In the erect adult bony thorax, the posterior or vertebral end of a typical rib is ____ higher
than or more superior to the anterior portion.
a. 1 to 2 inches (2.5 to 5 cm)
b. 3 to 5 inches (8 to 13 cm)
c. 6 to 8 inches (15 to 20 cm)
d. 10 to 12 inches (25 to 30 cm)
ANS: B REF: 357

9. Which of the following ribs is considered to be a false rib?


a. Seventh
b. First
c. Ninth
d. None of the above
ANS: C REF: 357

10. Which of the following statements is true about floating ribs?


a. They do not possess a head.
b. They do not possess a costovertebral joint.
c. They do not possess costocartilage.
d. They are ribs 8 through 12.
ANS: C REF: 357

11. The widest aspect of the bony thorax generally occurs at the level of:
a. the eleventh and twelfth ribs.
b. T7.
c. the sternoclavicular joints.
d. the eighth or ninth ribs.
ANS: D REF: 358

12. What is the joint classification and type of movement for the sternoclavicular joints?
a. Cartilaginous with diarthrodial (ginglymus) movement
b. Synovial with diarthrodial (gliding) movement
c. Synovial with amphiarthrodial, limited movement
d. Cartilaginous with synarthrodial or no movement
ANS: B REF: 358

13. What is the joint classification and type of movement for the costotransverse joint?
a. Cartilaginous with diarthrodial (ginglymus) movement
b. Synovial with diarthrodial (plane) movement
c. Synovial with amphiarthrodial, limited movement
d. Cartilaginous with synarthrodial or no movement
ANS: B REF: 358

14. What is the name of the part labeled i in this figure?

a. Facet for the first rib


b. Body
c. Sternoclavicular joint
d. Sternal angle
ANS: C REF: 356

15. What is the name of the part labeled ii?

a. Xiphoid process
b. Body
c. Sternoclavicular joint
d. Sternal angle
ANS: D REF: 356

16. The structure labeled iii is the costocartilage:

a. of the tenth rib.


b. portion of the first false rib.
c. of the last true rib.
d. of the sixth rib.
ANS: D REF: 357

17. What is the name of the part labeled iv?

a. Facet for the sternum attachment


b. Head of the sternum
c. Facet for the second rib attachment
d. Costocartilage for the first rib attachment
ANS: D REF: 357

18. What is the name of the structure labeled v?


a. Head
b. Body
c. Manubrium
d. Xiphoid process
ANS: C REF: 356

19. Which aspect of the rib articulates with the thoracic vertebral body?
a. Neck
b. Tubercles
c. Head
d. Facets
ANS: C REF: 357

20. Which ribs are considered to be true ribs?


a. First only
b. First through seventh ribs
c. First through ninth ribs
d. Eleventh and twelfth ribs
ANS: B REF: 357

21. Which of the following techniques is most effective in preventing lung markings from
obscuring the sternum on an oblique projection?
a. Use a high kV.
b. Oblique as much as needed to not superimpose the sternum over the hilum region.
c. Decrease the source image receptor distance (SID) to magnify the sternum.
d. Use an orthostatic (breathing) technique.
ANS: D REF: 359

22. Why is the RAO sternum preferred to the LAO position?


a. The RAO produces less magnification of the sternum.
b. The RAO projects the sternum over the shadow of the heart.
c. The RAO reduces dose to the thyroid gland.
d. The RAO projects the sternum away from the hilum and heart.
ANS: B REF: 359 | 364

23. Which of the following statements is true about radiography of ribs located above the
diaphragm?
a. Suspend breathing upon inspiration.
b. Perform the study with the patient recumbent.
c. Use an analog kV range of 85 to 95.
d. Always include an anteroposterior (AP) projection as part of the routine.
ANS: A REF: 360

24. Which of the following positions will best demonstrate the axillary portion of the left ribs?
a. AP
b. Posteroanterior (PA)
c. Left posterior oblique (LPO)
d. LAO
ANS: C REF: 361

25. Which of the following positions will best demonstrate the axillary portion of the right ribs?
a. AP
b. PA
c. LAO
d. RAO
ANS: C REF: 361

26. Which of the following conditions may occur with trauma to the ribs?
a. Airway obstruction of the trachea
b. Pneumonia
c. Hemothorax
d. Pulmonary embolus
ANS: C REF: 361

27. What is the recommended degree of obliquity for an RAO projection of the sternum for an
asthenic (thin-chested) type of patient?
a. 20°
b. 15°
c. 30°
d. 10°
ANS: A REF: 364

28. Which position can replace the RAO of the sternum if the patient cannot lie prone?
a. LAO
b. Left lateral decubitus
c. LPO
d. RPO
ANS: C REF: 364
29. What is the recommended SID for the erect lateral sternum position?
a. 40 inches (102 cm)
b. 44 inches (113 cm)
c. 46 inches (117 cm)
d. 60 to 72 inches (152 to 183 cm)
ANS: D REF: 365

30. Where is the CR centered for a PA projection of the sternoclavicular joints?


a. At the level of the vertebra prominens (T1)
b. At the level of the sternal angle (T4-5)
c. Three inches (7 cm) distal to the vertebra prominens (T2-3)
d. At the level of the thyroid cartilage (T9)
ANS: C REF: 366

31. How much rotation and which oblique position are required to best demonstrate the left
sternoclavicular joints?
a. 10° to 15° LAO
b. 35° to 45° LAO
c. 10° to 15° RAO
d. 5° to 10° RAO
ANS: A REF: 367

32. Which two projections must be taken for an injury to the right anterior, upper ribs?
a. PA and LAO
b. PA and RAO
c. AP and RAO
d. AP and LPO
ANS: A REF: 361

33. Which two projections must be taken for an injury to the left posterior, lower ribs?
a. AP and LPO
b. AP and RAO
c. PA and LPO
d. PA and RAO
ANS: A REF: 361

34. What kV range (digital systems) is recommended for an AP projection of the ribs found below
the diaphragm?
a. 75 to 85 kV
b. 60 to 65 kV
c. 65 to 75 kV
d. 70 to 80 kV
ANS: A REF: 360

35. Which disease or condition may be associated with postoperative complications of open heart
surgery?
a. Spondylitis
b. Osteoblastic metastases
c. Osteomyelitis
d. Flail chest
ANS: C REF: 363

36. Fracture of adjacent ribs in two or more places with associated pulmonary injury is known as
a(n) _____ rib injury.
a. compound
b. flail chest
c. acute
d. compression
ANS: B REF: 363

37. The radiographic appearance of the erosion of bony rib margins is a possible indication of:
a. osteomyelitis.
b. osteoblastic metastases.
c. spondylolysis.
d. osteolytic metastases.
ANS: A REF: 363

38. Which of the following conditions, if severe, often requires a decrease adjustment of manual
exposure factors?
a. Osteoblastic metastases
b. Osteomyelitis
c. Flail chest
d. None of the above
ANS: D REF: 363

39. A congenital defect characterized by anterior protrusion of the lower sternum and xiphoid
process is termed:
a. pectus excavatum.
b. flail chest.
c. pectus carinatum.
d. sternal protrusion.
ANS: C REF: 363

40. Which condition of the sternum is often termed “funnel chest”?


a. Pectus excavatum
b. Flail chest
c. Pectus eruptus
d. Pectus deforminens
ANS: A REF: 363

41. The condition flail chest is most commonly caused by:


a. pneumothorax.
b. emphysema.
c. blunt trauma.
d. congenital heart defect.
ANS: C REF: 363

42. A radiograph of an RAO sternum reveals that it is partially superimposed over the spine.
What must be done to eliminate this problem during the repeat exposure?
a. Perform an LPO projection instead of an RAO.
b. Angle the CR 5° to 10° laterally to the sternum.
c. Increase rotation of the body.
d. Increase kV.
ANS: C REF: 364

43. A radiograph of a lateral projection of the sternum reveals that the patient’s ribs are
superimposed over the sternum. What needs to be done to correct this problem during the
repeat exposure?
a. Increase the SID.
b. Angle the CR 5° anterior.
c. Ensure that the patient is not rotated.
d. Increase the kV.
ANS: C REF: 365

44. A radiograph of an RAO projection of the sternum demonstrates excessive lung markings
obscuring the sternum. A 1-second exposure time and an orthostatic (breathing) technique
were used. Which of the following will produce a more diagnostic image of the sternum?
a. Ensure that the patient is not breathing during the exposure.
b. Increase the exposure time; decrease the mA.
c. Decrease the kV; increase the mA or time.
d. Initiate exposure on deeper inspiration.
ANS: B REF: 364

45. A PA radiograph of the sternoclavicular (SC) joints demonstrates unequal distance from the
SC joints to the midline of the spine. The left SC joint is farther from the sternum than the
right. What specific positioning error is present on this radiograph?
a. Slight right rotation (right side toward the image receptor)
b. Slight left rotation (left side toward the image receptor)
c. Tilt of the upper thorax
d. Excessive angulation of the CR
ANS: A REF: 366

46. A young female patient from the emergency department (ED) is brought to radiology for rib
examination. She is able to sit up or stand for the procedure. She indicates that the region of
pain is to the right anterior-to-mid axillary region. Which rib projections should be performed
to minimize the effective dose to this patient?
a. PA and RPO
b. AP and RPO
c. PA and RAO
d. PA and LAO
ANS: D REF: 361

47. A patient enters the ED with an injury to the left anterior lower ribs. Which of the following
projections should be taken to demonstrate the involved area?
a. AP and LAO
b. PA and RAO
c. AP and LPO
d. PA and LAO
ANS: B REF: 371

48. An ambulatory patient enters the ED with a possible injury to the right upper posterior ribs.
Which of the following positioning routines should be taken to demonstrate the involved area?
a. Erect PA and LPO
b. Erect AP and RPO
c. Recumbent AP and RPO
d. Erect PA and LAO
ANS: B REF: 370-371

49. A patient enters the ED with blunt trauma to the sternum. The patient is in great pain and
cannot lie prone on the table or stand erect. Which of the following positioning routines would
be best for the sternum examination in this situation?
a. RPO and lateral recumbent projections
b. AP and horizontal beam lateral projections
c. LPO and horizontal beam lateral projections
d. LPO and lateral recumbent projections
ANS: C REF: 361 | 364

50. A patient enters the ED with trauma to the bony thorax. The initial radiographs reveal that
there are fractured ribs and a possible pneumothorax of the left thorax. The physician orders a
chest study to confirm the pneumothorax; however, the patient cannot stand. Which of the
following positions would best demonstrate the pneumothorax?
a. Left lateral decubitus
b. Right lateral decubitus
c. Ventral decubitus
d. Dorsal decubitus
ANS: B REF: 361

51. Initial PA projections of the SC joints indicate a possible bony defect involving the right SC
joint. The vertebral column is preventing a clear view of it. Which of the following
projections will demonstrate the right SC joint without superimposition over the spine?
a. Horizontal beam lateral
b. LAO
c. RAO
d. Erect lateral projection
ANS: C REF: 367
52. What is the minimum number of ribs that must be demonstrated for a unilateral rib study
above the diaphragm?
a. Ribs 1 through 6
b. Ribs 1 through 8
c. Ribs 1 through 9
d. All ribs must be demonstrated.
ANS: C REF: 370

53. A radiograph of an RAO projection of the ribs demonstrates the left axillary ribs are
foreshortened, whereas the right side is elongated. Which of the following is the most likely
reason for this radiographic outcome?
a. The patient requires more rotation to the right.
b. An LAO was performed rather than the RAO position.
c. The technologist should have performed a PA projection to demonstrate the left
axillary ribs, not an RAO.
d. CR angulation was incorrect.
ANS: B REF: 371-372

54. A patient with metastatic disease in the ribs comes to radiology following a nuclear medicine
scan. The radiologist orders a right, upper posterior rib study. Which of the following
positioning factors should be followed for this specific study?
a. Perform positions erect if the patient’s condition permits.
b. Exposure on full expiration.
c. Include the RPO position as part of the positioning routine.
d. Both A and C are correct.
ANS: D REF: 360 | 371-372

55. Which of the following positioning considerations does NOT apply for a study of the lower
ribs?
a. Perform positions recumbent.
b. Use a digital kV range between 65 and 70 kV.
c. Exposure on full expiration.
d. Both A and B are incorrect.
ANS: B REF: 360

56. Which of the following landmarks can be palpated to locate the upper margin of the sternum
on the obese patient?
a. Vertebra prominens
b. Sternal angle
c. Jugular notch
d. Thyroid cartilage
ANS: C REF: 362

TRUE/FALSE

1. The tubercle portion of a typical rib articulates with the vertebral facet/demifacet.
ANS: F REF: 357

2. The only bony connection between the shoulder girdle and the bony thorax is the
acromioclavicular joint.

ANS: F REF: 356

3. The degree of rotation for the right anterior oblique (RAO) projection of the sternum is
dependent on the size of the thoracic cavity.

ANS: T REF: 359

4. The left anterior oblique (LAO) position of the sternum provides the best frontal image of the
sternum with it superimposed over the heart.

ANS: F REF: 361

5. A right or left side marker may be taped over the area of interest to indicate the location of the
trauma to the ribs.

ANS: F REF: 361

6. It is a safe practice to decrease the SID to 30 inches (77 cm) for the oblique sternum
projection.

ANS: F REF: 364

7. Both nuclear medicine and magnetic resonance imaging (MRI) studies can be performed to
evaluate metastatic rib lesions before conventional rib radiographic examination.

ANS: F REF: 362

8. Multiple myeloma is seen often in the flat bones of the bony thorax.

ANS: T REF: 363

9. Both bony and soft tissue anatomy may be evaluated by CT for pathology involving the
sternum or the sternoclavicular joints.

ANS: T REF: 363

10. The use of 125 kV is recommended for AP and PA projections of the ribs to reduce skin dose.

ANS: F REF: 368-371

11. An erect lateral projection of the sternum requires that respiration be suspended on expiration.

ANS: F REF: 365


Another random document with
no related content on Scribd:
Liinan huoneessa oli liian kuuma. Kalle siirtyi saliin ja alkoi kävellä
edes takaisin. Levottomista liikkeistä saattoi arvata hänen
mielessään liikkuvan jotakin outoa. Näin hän ajatteli:

"Näin pitkälle sitä siis nyt on jouduttu. Voi minua poloista vieläkin.
Jos ilkeäisin itseltäni, niin raastaisin Liinan tukasta, tänne… ja
selvittäisin nyrkkipuheella, mikä hän on ja miksi hän on tehnyt
minutkin. Mutta tokkopa hän ymmärtää sittekään. Tuskin vain!… No,
onhan tuota syytä itsessänikin, miksi rupesin juomaan, niin miksi?
Heikko olen ollut, mutta sen tiedän, jos minulla olisi ollut kunnon
vaimo, en nyt tällainen olisi. Sen verran minussa toki on vielä häpyä,
että en viitsikään olla joka viilekkeen pilkattavana. Vai meillä muka ei
ole leipää sen tähden, että meillä ei ole emäntää, joka paistaisi! Ja
minäkö pidän eukkoani vain nukkena lasikaapissa? Totta totisesti
niin onkin; mutta kuka tuota viitsii kuulla syrjäisiltä, en minä
ainakaan. Loppu tästä elämästä pitää tulla tavalla tai toisella… Ja
loppuhan tästä tuleekin ihan itsestään. Pankkiin olisi huomenna
lähetettävä rahan, kauppiaalla on tuomio ja hän vaatii rahaa, leipään
tarvittaisiin rahaa ja isälle pitäisi toimittaa rahaa siitä tuonnoisesta
summasta, jonka vain vähäksi ajaksi lainasin. Rahaa, rahaa, rahaa,
eikä minulla penniäkään… Pahin pula on syömisestä. Rupeavat
palvelijatkin näljissään haukkumaan… Liinasta en välittäisi, nähköön
vähän nälkää, eikö sitte oppisi jotain tekemään. Ja lapsista kyllä isä
pitää huolen, sen tiedän ihan varmaan. Itse minä kyllä elän missä
hyvänsä… Voi sentäänkin, kun en alussa ollut jyrkempi Liinalle ja
pakottanut häntä ihmiseksi. Mutta kuka tuota jaksaa nähdä akkain
itkua ja vaikerrusta, ja säälihän tuota oli ajaakin herrasihmistä heti
läävään, kun muutenkin tuntui elämä olevan hänestä niin vaikea. Ja
se appiukko, rikkaaksi häntä kaikki luulivat, se se juuri minutkin petti,
kun tyttö vielä lisäksi oli niin vietävän suloinen… se ukko jätti meidät
ihan paljain käsin. Kutti, parahiksi, Kalle! kuka käski olemaan sokea
ja kosimaan herrasneittä? Ei kukaan muu kuin oma herruuteni. Nyt
olen hyväkin herra!… Peijakas kun rupee nälkä hiukomaan omaakin
vatsaani; se vain ei katso herruutta eikä narreutta! Mutta loppu tästä
pitää tulla!"

Kauan hän sillä tavalla mietiskellen käveli välistä hitaammin,


välistä taas kiireemmin, mikäli ajatukset milloinkin sujuivat. Unta ei
kuulunut. Aamu jo ehti valjeta hänen yhä astuskellessaan.

Viimein hän teki päätöksensä, pukeutui päällysvaatteihinsa, meni


tampuurin kautta ulos, valjasti hevosen, saman, jolla oli tullut kotiin ja
läksi ajamaan.

Liina yhä nukkui ja vasta hetkisen kuluttua heräsivät palvelijatkin,


tottuneet kun ajan pitkään olivat hekin enemmän makaamaan kuin
työtä tekemään! Renki kiepsahti vähän sukkelammin tavallista ylös
ja alkoi torua piikoja: "nyt teidät hukka perii, kun näin makaatte
selvään päivään asti, vaikka isäntä on kotona!" Mutta karjapiika,
käytyään elukoita katsomassa ja huomattuaan, että isännän hevosta
ei ollut tallissa eikä rekeäkään kotosalla, alkoi tupaan palattuaan
pilkata renkiä, että hän näljissään näki vain unia päivälläkin. Ja
siihen uskoon piiat jäivät, vaikka renki kuinka olisi vakuuttanut
käyneensä yöllä riisumassa isännän hevosen.

Kalle ajoi suoraa päätä Notkolaan. Vaikealta hänestä tuntui mennä


isäänsä yhä kiusaamaan ja vielä vaikeampi hänen oli kuulla isän
suusta jyrkkä vastaus, että oli turha ruveta kahta taloa hävittämään
yhden tähden. Kalle mielessään kuitenkin tunnusti isän olevan
oikeassa, hänhän oli itsekin koko aamun ajatellut samaa, ja nyt hän
ilmasi äsken tekemänsä päätöksen.
Kauan siinä keskusteltiin ja punnittiin asiaa kaikilta puolin.
Notkolan isäntä, huomattuaan poikansa nyt viimeinkin palaavan
väärältä tieltä, kehoitti Kallea vielä koettamaan pitää taloansa
pystyssä, vaan Kalle ei uskaltanut, hänellä kun ei enää ollut
luottamusta itseensäkään.

Aamiaisen syötyä läksi Kalle ajamaan omia teitänsä, ei kuitenkaan


kapakkaan, kuten ennen. Isänsä huusi hänelle vielä jäljestä: "ole
huoletta, kyllä minä korjaan lapset!" ja kyyneliä kiilsi nyt jo
vanhanpuoleisen miehen silmissä.

Mäkelässä palvelijat kyllästyivät odottamaan olematonta aamiaista


eivätkä ilenneet enää mennä lainailemaankaan, vaan karkasivat.
Niinpä Notkolan isäntä päivemmällä tapasi Liinan yksinään lasten
kanssa ja vei heidät kotiinsa. Mäkelän kartanot lukottiin ja elukat
korjattiin myöskin nälkää näkemästä Notkolaan toistaiseksi. Aikaa
myöten otti pankki saatavastaan talon haltuunsa ja irtaimiston veivät
muut saamamiehet.

*****

Tähän nyt kertomus oikeastaan saisi päättyä, sillä johan


arvaamme, että päähenkilöt, joiden elämän vaiheita olemme
seuranneet, olivat auttamattomasti elämänsä mukaista kylvöä
niittämässä ja että heidän lapsensa joutuivat hyviin käsiin. Kuitenkin
huvittanee vielä katsahtaa muutamia vuosia, ehkäpä
kymmenkunnankin eteen päin.

Silloin istui Liina huononpäiväisessä torpassa. Hän näet ei ollut


viihtynyt Notkolassa, jossa toisten uutteruus oli ikäänkuin ainaisena
pahana omanatuntona häntä rasittamassa, vaikka häntä ei
kovuudella kohdeltukaan, ja hän sen tähden oli lähtenyt omaan
vapauteensa. Huonoa hänen toimeentulonsa sitte oli ja ehkäpä hän
saamattomuudessaan olisi kuollut nälkäänkin, ell'eivät torpan
asukkaat, johon hän asettui elämään, olisi toimittaneet hänelle
syötävää ensin Notkolasta ja sitte kunnan vaivaisvaroista, kuin
Notkolan vanhukset kuolivat ja tila joutui Liinalle vieraampien
haltuun. Työhön oppimisesta ei nytkään tullut mitään. Torpanväen
kätkyitä hän vain kiikutteli ja muisteli ennen nuorempana lukemiansa
romaaneja.

Kallesta kuultiin sen verran, että hän toisissa pitäjissä piti


päällysmiehen ammattia tukin ajoissa ja uitoissa ja ansaitsi rahaa
runsaasti. Mutta Liinalle hän ei lähettänyt penniäkään, sillä viina oli jo
tullut hänelle niin rakkaaksi, että sen alttarille hän uhrasi joka
roponsa. Humalapäissään hän kuitenkin joskus kiroeli omaa
tyhmyyttänsä; koko tuo naimisissa olon aika häilyi hänen mielessään
vain pahana unena. Toimen miestä hänestä ei enää koskaan tullut,
siksi oli hänen oma tahtonsa jo vallan uupunut, ja oikea avun lähde,
niin se häneltä oli unhottunut jo ammoin ennen, kuin hän
herrasmaisuuden ja himon orjaksi joutuikaan.
*** END OF THE PROJECT GUTENBERG EBOOK JUTELMIA ***

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