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【3%OFF：夏先取りキャンペーン】送料無料 入園入学シリーズ お得で充実7点セット（防災頭巾カバー・キルティング） ムーンライトバタフライ7 1.() 3040cmD 2. 23cm 3. () 4. () 2 5. () 6. 7.() &2WAY COLORFUL CANDY QUALITY COLORFUL CANDY QUALITY cm 3040164. 5 292317616 38. 531 2019. 512 17126 4231 354910 100%
単品合計より割引価格で販売中！
1.レッスンバッグ(キルティング)
小学校・幼稚園・保育園の机のフックに掛けても底につかない便利なループ付き。 小学校・幼稚園・保育園からの一般的な指定サイズ30×40cmで、大判絵本やスケッチブックも入ります。持ち手はお子様の手にも持ちやすいテープ仕様。名札を付けるDカンも付属しています。
2.シューズケース（キルティング）
幅23cmのゆったりサイズで、保育園・幼稚園～小学校低学年まで、長くご愛用いただけます。持ち手はお子様の手にも持ちやすいテープ仕様です。
3.巾着 大/体操服袋(一枚布仕立て)
お洋服をたたむのが少し苦手なお子様にも最適な大きめサイズです。
4.巾着 中/お弁当袋(一枚布仕立て)
マチ付きで2段のお弁当箱、箸やフォークケースも楽に収納できます。
5.巾着 小/コップ袋(一枚布仕立て)
持ち手付きのコップもすっぽり入る大きさです。
6.防災頭巾
分厚い中綿クッションが子どもの首・肩まで覆って保護。頭を衝撃からしっかりと守ります。
7.防災頭巾カバー(キルティング)
背もたれ&ざぶとんのどちらにも対応する2WAY仕様。持ち手を出すと、大きなバッグに早変わりするため、持ち運びもラクラク。
中綿入りキルティングの表面はシワになりにくく、小さな子どもにも扱いやすい安心素材です。
■商品仕様について
商品は写真と異なる場合や同等品へ仕様変更する場合がございます。予めご了承ください。
小学校・幼稚園・保育園の机のフックに掛けても底につかない便利なループ付き。 小学校・幼稚園・保育園からの一般的な指定サイズ30×40cmで、大判絵本やスケッチブックも入ります。持ち手はお子様の手にも持ちやすいテープ仕様。名札を付けるDカンも付属しています。
2.シューズケース（キルティング）
幅23cmのゆったりサイズで、保育園・幼稚園～小学校低学年まで、長くご愛用いただけます。持ち手はお子様の手にも持ちやすいテープ仕様です。
3.巾着 大/体操服袋(一枚布仕立て)
お洋服をたたむのが少し苦手なお子様にも最適な大きめサイズです。
4.巾着 中/お弁当袋(一枚布仕立て)
マチ付きで2段のお弁当箱、箸やフォークケースも楽に収納できます。
5.巾着 小/コップ袋(一枚布仕立て)
持ち手付きのコップもすっぽり入る大きさです。
6.防災頭巾
分厚い中綿クッションが子どもの首・肩まで覆って保護。頭を衝撃からしっかりと守ります。
7.防災頭巾カバー(キルティング)
背もたれ&ざぶとんのどちらにも対応する2WAY仕様。持ち手を出すと、大きなバッグに早変わりするため、持ち運びもラクラク。
中綿入りキルティングの表面はシワになりにくく、小さな子どもにも扱いやすい安心素材です。
■商品仕様について
商品は写真と異なる場合や同等品へ仕様変更する場合がございます。予めご了承ください。
ふんわり優しい手触りのキルティング素材は、生地・デザイン・細部に至るまで高級感抜群
レッスンバッグとシューズケース、防災頭巾カバーは中綿入りのしっかりとしたキルティング素材なので、シワになりにくく丈夫。底布は丈夫なオックス生地で耐久性も抜群です。
キレイなまま長期にわたって使える品質と、安全性。COLORFUL CANDY QUALITY
国際的なテスト機関で堅牢性・安全性確認済みの素材のみを使用。仕入れから製造・販売まで、リスクを入り込ませない一貫体制。キレイなまま長期にわたって使える品質と、安全性。それがCOLORFUL CANDY QUALITY。
レッスンバッグとシューズケース、防災頭巾カバーは中綿入りのしっかりとしたキルティング素材なので、シワになりにくく丈夫。底布は丈夫なオックス生地で耐久性も抜群です。
キレイなまま長期にわたって使える品質と、安全性。COLORFUL CANDY QUALITY
国際的なテスト機関で堅牢性・安全性確認済みの素材のみを使用。仕入れから製造・販売まで、リスクを入り込ませない一貫体制。キレイなまま長期にわたって使える品質と、安全性。それがCOLORFUL CANDY QUALITY。
レッスンバッグ
タテ：約30／ヨコ：約40／持ち手高さ：約16／ループ高さ：約4.5
シューズケース
タテ：約29／ヨコ：約23／底幅：約17／マチ：約6／持ち手高さ：約16
巾着（大）
タテ：約38.5／ヨコ：約31
巾着（中）
タテ：約20／ヨコ：約19.5／マチ：約12
巾着（小）
タテ：約17／ヨコ：約12／マチ：約6
防災頭巾
タテ：約42／ヨコ：約31
防災頭巾カバー
タテ：約35／ヨコ：約49／持ち手高さ：約10
※商品によってサイズに多少の誤差がございます。予めご了承ください。
素材：綿100%
●洗濯について
洗濯により若干の色落ち、濡れた状態での接触により色移りすることがございます。洗濯の際は、他のものとまとめて洗うのはお避け下さい。
●柄の出方について
柄の出方は、生地の裁断により、一点一点異なります。あらかじめご了承ください。
●商品仕様について
商品は写真と異なる場合や同等品へ仕様変更する場合がございます。予めご了承ください。
また、お揃い生地商品が完売の際はご了承ください。
その他のご注意点はこちら
洗濯により若干の色落ち、濡れた状態での接触により色移りすることがございます。洗濯の際は、他のものとまとめて洗うのはお避け下さい。
●柄の出方について
柄の出方は、生地の裁断により、一点一点異なります。あらかじめご了承ください。
●商品仕様について
商品は写真と異なる場合や同等品へ仕様変更する場合がございます。予めご了承ください。
また、お揃い生地商品が完売の際はご了承ください。
その他のご注意点はこちら
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4.6 ★★★★★
Based on 28 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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