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76888-248-M | PAMPA HI ZIP LTH ESS | BISON1947 Palladium Pampa Hi Die originalen Palladium Boots seit 1947 legendrer Pampa Hi aus weichem, klassischem Leder, mit einem Reiverschluss an der Auenseite fr einfaches An und Ausziehen Diese Boots sind ein zeitloses und vielseitiges Must have und passen zu vielen Outfits. ein Klassiker fr coole Abenteurer The original Palladium boots since 1947. Iconic Pampa Hi in soft, classic leather with a zip on the medial side for easy in and out. Essential and
創於 1947 年的原創 Palladium 軍靴。標誌性的 Pampa Hi 以柔軟經典的皮革製成 ，內側有拉鍊，方便穿脫，多功能性且永不過時的軍靴款式，衣櫥必備，可搭配不同服飾，經典之作。
Die originalen Palladium Boots – seit 1947 legendärer Pampa Hi aus weichem, klassischem Leder, mit einem Reißverschluss an der Außenseite für einfaches An- und Ausziehen Diese Boots sind ein zeitloses und vielseitiges Must-have und passen zu vielen Outfits. ein Klassiker für coole Abenteurer
The original Palladium boots since 1947. Iconic Pampa Hi in soft, classic leather with a zip on the medial side for easy in and out. Essential and timeless boots that match many outfits due to its versatililty. A classic for all audacious explorers.
L’originale de Palladium depuis 1947. L’iconique Pampa Hi en cuir classique et souple, munie d’une fermeture éclair sur la partie médiane pour l’enfiler et la retirer facilement. Un modèle essentiel et intemporel qui se distingue par sa polyvalence. À associer à n’importe quelle tenue. Un classique pour explorateurs audacieux.
De originele Palladium boots sinds 1947. De iconische Pampa Hi in zacht, klassiek leer met een ritssluiting aan de binnenkant voor makkelijk aan- en uittrekken. Onmisbare en tijdloze boots die door hun veelzijdigheid bij elke outfit passen. Een klassieker voor explorers met lef.
The original Palladium boots since 1947. Iconic Pampa Hi in soft, classic leather with a zip on the medial side for easy in and out. Essential and timeless boots that match many outfits due to its versatililty. A classic for all audacious explorers.
鞋面主要材料：皮革 里布材質：100% 棉帆布 鞋墊：模切 EVA + EVA 杯 - 100% 聚酯纖維外罩 底部 + 鞋頭：橡膠 + 模切 EVA 品牌：鞋舌皮革LOGO/外側圓形LOGO 特點：內側拉鍊/蠟質扁平鞋帶/鞋跟拉環/可拆卸鞋墊
- OBERMATERIAL: geöltes genarbtes Leder
- FUTTER: Canvas aus 100 % Baumwolle
- SOCKENFUTTER: gestanztes EVA + EVA-Mulde – Abdeckung aus 100 % Polyester
- SOHLE + ZEHENKAPPE: Gummi + gestanztes EVA
- MARKENLOGO: Lederaufnäher auf der Zunge / geprägtes Label auf der Außenseite / gewebtes Label am äußeren Quartier
- BESONDERHEITEN: Reißverschluss am inneren Quartier / Ösen / flache, gewachste Schnürsenkel / Einschnitt auf der Zunge für Schnürsenkel / Fersenschlaufe aus Textil
- UPPER: Grained oily leather
- LINING: canvas in 100% cotton
- SOCKLINER: Die cut EVA + EVA cup - cover in 100% polyester
- BOTTOM + TOE CAP: Rubber + Die cut EVA
- BRANDING: Leather patch on tongue / deboss label on lateral side / woven label on lateral quarter
- FEATURES: Zip on medial quarter / eyelets / waxy flat laces / cut on tongue to pass the laces / heel loop in textile / removable insole
- TIGE : cuir grainé huilé
- DOUBLURE : toile en 100 % coton
- SEMELLE INTÉRIEURE : EVA découpé + renfort au talon en EVA - surface 100 % polyester
- DESSOUS + EMBOUT : caoutchouc + EVA découpé
- MARQUE : écusson en cuir sur la languette / étiquette gravée sur le côté / étiquette tissée sur le quartier externe
- CARACTÉRISTIQUES : fermeture éclair sur le quartier interne / œillets / lacets plats cirés / ouverture sur la languette pour faire passer les lacets / boucle en textile au talon
- BOVENKANT: Generfd olieachtig leer
- VOERING: Canvas van 100% katoen
- INLEGZOOL : Gestanst EVA + EVA hielversteviging - bovenlaag van 100% polyester
- ZOOL + NEUS: Rubber + Gestanst EVA
- MERKDETAILS: Leren patch op de tong / logo in reliëf op buitenkant / geweven label op het buitenste zijstuk
- KENMERKEN : : Rits op het binnenste zijstuk / veteroogjes / gewaxte platte veters / opening in tong om de veter door te halen / stoffen hiellus
- UPPER: Grained oily leather
- LINING: canvas in 100% cotton
- SOCKLINER: Die cut EVA + EVA cup - cover in 100% polyester
- BOTTOM + TOE CAP: Rubber + Die cut EVA
- BRANDING: Leather patch on tongue / deboss label on lateral side / woven label on lateral quarter
- FEATURES: Zip on medial quarter / eyelets / waxy flat laces / cut on tongue to pass the laces / heel loop in textile / removable insole
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4.3 ★★★★★
Based on 20 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.
WAS THIS REVIEW HELPFUL?YesReportShare
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
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