SKU: 40464084949

Sheepworld - Hab dich lieb-Torte

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Sheepworld - Hab dich lieb-TorteDem kleinen niedlichen Schaf von Sheepworld kann keiner widerstehen. Auf eine zuckerse Art vermittelt er deine Liebesbotschaft und verst deinem Lieblingsmensch zum Valentinstag den Tag. Durch das schne Motiv auf der Hab dich lieb Torte zauberst du dem Beschenkten ein Lcheln ins Gesicht und bringst ohne viele Worte deine Liebe zum Ausdruck. Auf dem schlichten weien Marzipan Aufleger der Hab dich lieb Torte findest du das kleine Schaf von Sheepworld von

Dem kleinen niedlichen Schaf von Sheepworld kann keiner widerstehen. Auf eine zuckersüße Art vermittelt er deine Liebesbotschaft und versüßt deinem Lieblingsmensch zum Valentinstag den Tag. Durch das schöne Motiv auf der Hab dich lieb-Torte zauberst du dem Beschenkten ein Lächeln ins Gesicht und bringst ohne viele Worte deine Liebe zum Ausdruck.

Auf dem schlichten weißen Marzipan Aufleger der Hab dich lieb-Torte findest du das kleine Schaf von Sheepworld von oben bis unten mit kleinen Zetteln mit Herzen drauf bedeckt. Umringt wird das kleine Schäfchen von einem kleinen zierlichen Rahmen aus Herzen. Auf der Seite der Torte findest du weitere kleine Zettelchen mit Herzchen und Liebesbotschaften. Für das innere deiner Hab dich lieb-Torte hast du die Wahl zwischen 5 leckeren Geschmacksrichtungen. Wähle zwischen Schokokuchen mit Schoko- oder Kirschfüllung und Vanillekuchen mit Zitronen-, Himbeer- oder Nougatfüllung. Bei dieser Auswahl ist für jeden das Richtige dabei. Unseren Druck machen wir mit Lebensmittelfarbe und einem speziell entwickeltem Druckverfahren um das best möglichste Ergebnis zu erzielen. Füge noch eine individuelle Beschriftung für deine Hab dich lieb-Torte hinzu und verleihe der Torte so eine persönliche Note. Falls dir der Platz auf der Torte nicht ausreicht hast du noch die Möglichkeit eine Grußkarte zu deiner Hab dich lieb-Torte hinzuzufügen. Hier hast du bis zu 300 Zeichen Platz deine Gefühle zum Ausdruck zu bringen. Nachdem du dir deine Hab dich lieb-Torte nach deinen Wünschen zusammengestellt hast musst du nur noch dein Wunsch Liefertermin auswählen und dir die Torte nach Hause liefern lassen.

©sheepworld AG All rights reserved. Design by sheepworld. Am Schafhügel 1, 92289 Ursensollen www.sheepworld.de
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SKU: 40464084949

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4.3 ★★★★★
Based on 11 reviews
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D
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David R. Papke
Whiting, US
★★★★★ 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.
WAS THIS REVIEW HELPFUL?YesReportShare
Reviewed in the United States on May 7, 2014
D
Verified Purchase
DoubtfulReader
Louisville, US
★★★★★ 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
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Matt M.
Fort Morgan, US
★★★★★ 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
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J. Christian
Draper, US
★★★★★ 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
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Verified Purchase
Classics professor
Battle Creek, US
★★★★★ 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.
WAS THIS REVIEW HELPFUL?YesReportShare
Reviewed in the United States on April 20, 2017

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