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Description
Maßgefertigter multifunktionaler Brillenclip aus WildlederKleine Gre, groer Nutzen; der beste Platz fr Sonnenbrillen. Merkmale Robustes Material Der Brillenclip besteht aus hochwertiger Aluminiumlegierung und Leder und ist dadurch strukturierter und langlebiger. Er verrutscht nicht und beschdigt die Sonnenblende nicht. Er ist robust und praktisch und erleichtert die Aufbewahrung. Schwamm und Federdesign Der integrierte Schwamm schtzt die Brille effektiv vor Kratzern und sorgt fr besseren Schutz. Der
Kleine Größe, großer Nutzen; der beste Platz für Sonnenbrillen.
Merkmale
- ► Robustes Material
Der Brillenclip besteht aus hochwertiger Aluminiumlegierung und Leder und ist dadurch strukturierter und langlebiger. Er verrutscht nicht und beschädigt die Sonnenblende nicht. Er ist robust und praktisch und erleichtert die Aufbewahrung.
- ► Schwamm- und Federdesign
Der integrierte Schwamm schützt die Brille effektiv vor Kratzern und sorgt für besseren Schutz. Der Brillenhalter mit Federdesign sorgt für einen besseren Halt der Brille an der Sonnenblende.
- ► Einfach zu installieren
Befestigen Sie den Autobrillenclip einfach an der Sonnenblende, um Ihre Brille ordentlich zu organisieren. Sie müssen sich keine Sorgen mehr machen, dass die Brille verloren geht oder herumliegt. Die hochwertige Aluminiumlegierung und das Ledergehäuse verformen sich kaum und sind langlebig.
- ► Guter Organizer
Der Auto-Sonnenblenden-Clip hilft, Ihre Brille zu organisieren und an ihrem Platz zu halten. So bleibt Ihr Autoinnenraum aufgeräumter und Sie haben Ihre Brille immer griffbereit.
- ► Keine Sichtbehinderung
Der Sonnenbrillenclip lässt sich sicher am Visier befestigen, ohne die Sicht des Fahrers zu beeinträchtigen, und ermöglicht einfachen und schnellen Zugriff auf die Brille, wenn Sie sie verwenden möchten.
Produktspezifikationen
- Material: Wildleder + Zinklegierung
- Größe: ca. 9,5 x 5,3 cm
- Montagemethode: Aufstecken
- Montageort: Sonnenblende
Paket beinhaltet
- Maßgefertigter multifunktionaler Brillenclip aus Wildleder x 1
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- Aufgrund manueller Messungen sind leichte Messabweichungen möglich.
- Aufgrund unterschiedlicher Anzeige- und Lichteffekte kann die tatsächliche Farbe des Artikels leicht von der auf dem Bild angezeigten Farbe abweichen.
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4.8 ★★★★★
Based on 16 reviews
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Product Reviews
★★★★★ 5
Recommended for All Lawyers
Format: Paperback
Meyer proves his initial point that much of what lawyers do is storytelling, and he achieves his goal of providing a primer on narrative theory for lawyer-storytellers. The book is sophisticated but written in an engaging way using non-technical language. Examples from legal and literary works abound, and they range from courtroom arguments and appellate briefs on the one hand to an essay by Joan Didion and Vonnegut's "Slaughterhouse Five" on the other. Meyer's favorite stories are found in Hollywood movies, and although he seems unaware of the accomplishment,Meyer provides fresh interpretations of such movies as "HIgh Noon" and"Jaws." I strongly recommend "Storytelling for Lawyers" for all law students, lawyers, and judges.
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Reviewed in the United States on May 7, 2014
★★★★★ 3
Notes on Legal Style by a Law Professor and Experienced Lawyer.
Format: Kindle
BOOK REVIEW: MEYER, Philip N., Storytelling for Lawyers
ISBN: 978-0-19-5396638
Read June, 13th-27th, 2017.
This book discusses storytelling tools by presenting a series of examples of good storytelling, both in legal settings and in literary works and movies. If theoretical explanations are sometimes a bit dry, the frequent quoting of practical examples conveys fluidity and speed to the book.
After an introduction presenting lawyers as storytellers, it deals with the roles played in storytelling by Plots (chapters 2 and 3); Character (4 and 5); Voice, Perspective, Details and Images, and Rhytm and Speed (which relate to Scene and Summary) (chapter 6); Place or Story Environment (chapter 7) and Narrative Time.
Focusing maybe too narrowly on legal storytelling before American juries, plot is almost equated with melodrama. Films like Jaws and High Noon are extensively discussed, as Gerry Spence’s Closing Argument on Behalf of Karen Silkwood. The chapters on character offer interesting insights on character classification (“round” characters, with psychological depth, prone to suffer transformation as the story evolves, vs. “flat” ones), while discussing the tools for telling how a character is, as opposed to simply showing the psychological nature of each character’s character through dialogue or the actions the character performs. Examples include Tobias Wolff’s This Boy’s Life and Jeremiah Donovan’s Closing Arguments on Behalf of Louis Failla, in a 13-week trial the Author could scrupulously attend in person.
Discussions on Voice, Perspective, Details and Images, Scene and Summary, criticize the basic assumptions of the neutrality of lawyers’ voices, exemplifies how to manage details to suggest ideas and emotions, draw on the distinction between showing and telling, and offers interesting insights into the narrative theory’s concept of stretch (the slowing of the narrative rhythm in relation to the narrated story’s). Environment depiction storytelling tools deals with Joan Didion’s The White Album and the Judicial Opinion in a Rape Case, quoting also from W. G. Sebald’s The Emigrants and the Petition Briefs in Reck v. Ragen and Miranda v. Arizona. Further examples are Kathryn Harrison’s While They Slept and the Petitioner’s Brief in Eddings v. Oklahoma.
Finally, the chapter on Narrative Time draws on Kurt Vonnegut’s Slaughterhouse Five and explores time, rhythm or speed, discussing more deeply stretch and the relation of time of the narrative itself with the time of the facts dealt with in the narrative. Chronology is discussed and criticized; Analepsis or Flashback is didactically explained and exemplified, both in general storytelling theory and in its legal use; the same holds for Prolepsis (Flash-forward) and Ellipsis (the intentional omission of a part of the narrative, often with the purpose of emphasizing the omitted event. Pacing and Rhythm are discussed in more lenght, with the caveat - repeated somewhat throughout the book - that legal stories are often left unfinished by the lawyer, in order to allow the jurors or judges fill the end with their decision.
The Author remarks his purpose was to suggest possible tools and ways of dealing with problems which arise in legal storytelling, and he delivers what he promises.
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Reviewed in the United States on June 27, 2017
★★★★★ 5
Great book and great professor
Format: Paperback
Professor Meyer is a great writer. I had took his death penalty case at Vermont Law School. He writes for numerous magazines including the ABA. I would highly recommend this book and all of his writings.
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Reviewed in the United States on January 19, 2021
★★★★★ 4
Interesting book
Format: Paperback
I am not a lawyer, nor a writer, but rather a reader. I found the correlation of legal storytelling with sceenplay, literary narrative quite interesting. Legal trials are theater.
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Reviewed in the United States on March 20, 2014
★★★★★ 5
Highly recommended -- not just for lawyers!
Format: Paperback
I'm not a lawyer but a Classics professor looking for modern parallels to (and contrasts with) Cicero's persuasive strategies in Roman courts. This book was just what I was looking for: lucid, informative, smart, and as a bonus, well versed in narrative theory, which Meyer handles as an experienced teacher -- avoiding jargon and needless complication, illustrating the key ideas with well-known cinematic examples.
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Reviewed in the United States on April 20, 2017