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Description
Senza Premium Tempered Glass Screen Protector Apple iPhone 6/6SDe Senza Glass Screen Protector voor de Apple iPhone 6 6S is een screenprotector van gehard glas. Hij beschermt het scherm tegen krassen en vangt klappen op die anders het originele scherm zouden beschadigen, terwijl het touchscreen soepel blijft reageren. Specificaties Geschikt voor: Apple iPhone 6 6S Materiaal: gehard glas Touchscreen en helderheid blijven behouden Merk: Senza Waarom kies je deze screenprotector Een kras of barst zit eerder in de
De Senza Glass Screen Protector voor de Apple iPhone 6/6S is een screenprotector van gehard glas. Hij beschermt het scherm tegen krassen en vangt klappen op die anders het originele scherm zouden beschadigen, terwijl het touchscreen soepel blijft reageren.
Specificaties
- Geschikt voor: Apple iPhone 6/6S
- Materiaal: gehard glas
- Touchscreen en helderheid blijven behouden
- Merk: Senza
Waarom kies je deze screenprotector
- Een kras of barst zit eerder in de protector dan in je dure originele scherm
- Gehard glas voelt en reageert vrijwel hetzelfde als het scherm zelf
- Goedkope verzekering: een nieuwe protector kost een fractie van een schermreparatie
Installatie
🟢 Moeilijkheidsgraad: makkelijk · ~5 minuten · Gereedschap: schoonmaakdoekje.
Veelgestelde vragen
Past dit op een ander model?
Nee, dit screenprotectorglas is gemaakt voor de Apple iPhone 6/6S. Andere modellen hebben afwijkende afmetingen of uitsparingen — kies altijd de uitvoering voor jouw exacte toestel.
Kan ik de protector opnieuw plakken als hij scheef zit?
Direct na het plaatsen kun je hem voorzichtig optillen en opnieuw uitlijnen. Doe dit zo min mogelijk: stof onder de protector veroorzaakt luchtbellen.
Merk ik verschil bij het typen of vegen?
Nee, gehard glas is glad en dun, waardoor het touchscreen net zo direct reageert als zonder protector. Heeft je toestel een vingerafdrukscanner in het scherm, druk dan iets langer en steviger.
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4.5 ★★★★★
Based on 15 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
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