SKU: 80137689879

Paracord Anti-tekenband Hummer XL

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Description

Paracord Anti-tekenband Hummer XLParacord Anti tekenband Hummer XL Anti tekenband van paracord in de kleur blauw en antraciet, incl bijpassende kleur sluiting en metalen stoppers Halsmaat 43 51 cm maat XL LET OP: De paracord niet als een halsband gebruiken In onze eigen handgemaakte anti tekenbanden van originele paracord zitten EM X kralen geknoopt. EM betekent Effectieve Micro Organismen. De kralen zijn gemaakt van speciale keramiek (klei). In de keramiek zitten zo'n 80

Paracord Anti-tekenband Hummer XL

Anti-tekenband van paracord in de kleur blauw en antraciet, incl bijpassende kleur sluiting en metalen stoppers

Halsmaat 43 - 51 cm maat XL

LET OP: De paracord niet als een halsband gebruiken

In onze eigen handgemaakte anti-tekenbanden van originele paracord zitten EM-X kralen geknoopt. EM betekent Effectieve Micro Organismen. 
De kralen zijn gemaakt van speciale keramiek (klei). In de keramiek zitten zo'n 80 verschillende micro-organismen meegebakken. Deze micro-organismen hebben een gunstige werking op jouw bulletje. Deze micro-organismen geven een bepaalde energie af (een soort trilling). Deze trilling kunnen jij en jouw bulletje niet voelen, maar de teken wel. Teken vinden deze trilling vervelend, en zullen zich daardoor niet of minder snel vastbijten op de vacht van jouw bulletje. Ook verhogen ze de weerstand van jouw bulletje.

Werking:

Voor de allereerste keer dragen ook eerst afspoelen en in de zon te drogen leggen. Voor de beste werking van de keramiek kralen is het beste als de band constant gedragen wordt. 
De inwerkperiode van keramiek bedraagt ongeveer 2-3 weken, dan werkt de band optimaal.

Onderhoud:

Doe de band 1 x in de 2 weken onder water (zonder reinigingsmiddelen) schoonmaken/afspoelen en in het zonlicht of anders in daglicht laten drogen. Hierdoor laadt het keramiek zich weer op. Gebruik geen zeep bij de anti-tekenband!

Zwemmen: Uw bulletje kan gewoon met het bandje in het water, zolang  dit niet in chloorwater  is. Het chloor kan namelijk de werking van de EM-X kralen negatief beïnvloeden, dus in dit geval het bandje afdoen.

Let op:

Het is en blijft keramiek! De kralen kunnen bij een val of te wild spelen breken!

Blijf na de wandeling je bulletje wel altijd controleren, want net als bij andere anti-tekenproducten (ook producten die chemicaliën bevatten), geeft de band geen 100% garantie.

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SKU: 80137689879

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4.8 ★★★★★
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Verified Purchase
David R. Papke
Bozeman, 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
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Verified Purchase
DoubtfulReader
Draper, 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.
Cuba, 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
Natrona Heights, 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.
WAS THIS REVIEW HELPFUL?YesReportShare
Reviewed in the United States on March 20, 2014
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Verified Purchase
Classics professor
Phoenix, 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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