SKU: 99339708673

Freies Formenspiel (CALVENDO Premium Wandkalender 2027)

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Freies Formenspiel (CALVENDO Premium Wandkalender 2027)Abstrakte Skulpturen in Wien (Monatskalender, 14 Seiten) Am freiesten ist die Kunst, wenn sie sich keinem Auftrag, keiner Erinnerung, keinem Gedenken widmen muss! Dieser Kalender zeigt Beispiele solcher Bildhauerkunst im ffentlichen Raum in Wien, die vor allem lebendig ist durch die Fantasie ihrer Schpfer und das Spiel der Formen und Oberflchen mit dem Licht. Premium Kunstdruck in Hochglanz in Museumsqualitt. Damit die Papierbogen glatt an der Wand

Abstrakte Skulpturen in Wien (Monatskalender, 14 Seiten)

Am freiesten ist die Kunst, wenn sie sich keinem Auftrag, keiner Erinnerung, keinem Gedenken widmen muss! Dieser Kalender zeigt Beispiele solcher Bildhauerkunst im öffentlichen Raum in Wien, die vor allem lebendig ist durch die Fantasie ihrer Schöpfer und das Spiel der Formen und Oberflächen mit dem Licht.

Premium Kunstdruck in Hochglanz in Museumsqualität. Damit die Papierbogen glatt an der Wand hängen, hat dieser hochwertige Kalender innovative Einstecktaschen. Sie schützen die großen Blätter vor Luftfeuchte-Effekten. Papier ist ein natürliches Material. Die Fasern reagieren auf Raumklimaschwankungen. Die Einsteckecken sollten daher nicht entfernt werden. Unsere Umwelt liegt uns am Herzen, daher setzen wir auf Einzelfertigung in Europa mit hochwertigen Materialien.

14 Seiten bestehend aus 1 Cover | 12 Monatsseiten | 1 Indexseite

Dieser erfolgreiche Kalender wurde dieses Jahr mit gleichen Bildern und aktualisiertem Kalendarium wiederveröffentlicht.

Abbildungen:
Januar: Wehende Fahnen, Gero Schwanberg 1985, Wien Landstraße
Februar: Begegnung, Oswald Stimm ca. 1962, Wien Leopoldstadt
März: Wiener Trio, Philip Johnson 1996, Wien Innere Stadt
April: Euro 2000, Florian Schaumberger 1997, Wien Alsergrund
Mai: Vogelflug, Herbert Schwarz 1959, Kopenhagenhof, Wien Währing
Juni: Genese, Richard Agreiter 2014, Wien Leopoldstadt
Juli: Lichtspiel, Alois Heidl 1965, Wien Leopoldstadt
August: Ferryman, Tony Cragg 1997, Wien Innere Stadt
September: Der zerbrochene Planet, Karl Anton Wolf 1975, Wien Alsergrund
Oktober: N.I.C. - nature is cool, Kurt Hostetter 2009, Wien Josefstadt
November: Hill Arches, Henry Moore 1978, Wien Wieden
Dezember: Bewegung, Wander Bertoni 1958, Wien Rudolfsheim-Fünfhaus

  • PREMIUM-LINIE - Brillanter Fotokalender mit 12 wunderschönen Motiven, Kunstdruck in Hochglanz in Museumsqualität.
  • QUALITÄT - edle Materialien, stabile Rückwand mit 2 innovativen Einstecktaschen für eine optimale Präsentation an der Wand.
  • NACHHALTIG - deutliche Abfallreduzierung durch bedarfsgerechte Einzelstückfertigung, Produktion in Europa und klimabewusste Logistik.
  • PERFEKTES GESCHENK – Kalender für Freunde und Familie, für Kinder und Erwachsene, jung und alt, zu Weihnachten, Geburtstag oder zwischendurch.
  • Abstrakte Skulpturen in Wien von Autor(in): Werner Braun
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SKU: 99339708673

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4.0 ★★★★★
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Verified Purchase
David R. Papke
Los Angeles, 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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DoubtfulReader
Grantham, 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.
Carnegie, 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
Belleville, 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
Natrona Heights, 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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