Cabine de douche d'angle SCANDIC NXT 201 RIHO 100x90 x200cm à charnière chromée
SKU: 12554685309

Cabine de douche d'angle SCANDIC NXT 201 RIHO 100x90 x200cm à charnière chromée

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Cabine de douche d'angle SCANDIC NXT 201 RIHO 100x90 x200cm à charnière chroméeCabine de douche d'angle SCANDIC NXT 201 RIHO 100x90 x200cm charnire chrome avec porte battante SCANDIC NXT 201, cabine de douche dangle en verre minimaliste pour le coin, Une belle douche entirement en verre crant une merveilleuse sensation d'espace dans votre salle de bain. Notre SCANDIC NXT 201 est trs lgante et est facile monter dans n'importe quelle salle de bains, grande ou petite. Tous les lments sembotent parfaitement pour que le sol de votre

Cabine de douche d'angle SCANDIC NXT 201 RIHO 100x90 x200cm à charnière chromée avec porte battante 

SCANDIC NXT 201, cabine de douche d’angle en verre minimaliste pour le coin, Une belle douche entièrement en verre - créant une merveilleuse sensation d'espace dans votre salle de bain. Notre SCANDIC NXT 201 est très élégante et est facile à monter dans n'importe quelle salle de bains, grande ou petite. Tous les éléments s’emboîtent parfaitement pour que le sol de votre salle de bain reste sec. Vous déterminez vous-même les dimensions de la cabine de douche, car l'ensemble est disponible en différentes tailles.   
Douche d'angle en verre trempé facile d'entretien,Vous recherchez une douche solide et facile d’entretien pour votre nouvelle salle de bain ? Notre SCANDIC NXT se compose d'une paroi de douche fixe et d'une porte en verre de sécurité trempé de 8 mm d'épaisseur. Elles sont fixés au mur avec des vis cachées. Le verre est traité avec un revêtement spécial RIHO Shield afin que les gouttelettes d'eau s'écoulent facilement. De ce fait, il nécessite peu d’entretien et vous pourrez donc profiter pleinement de votre douche. La barre de stabilisation incluse offre une rigidité supplémentaire à la paroi vitrée fixe! 

Configuration de la douche : disposition en angle 
Paroi fixe avec porte, ouverture vers l'extérieur 
Hauteur : 200 cm 
Largeur: 100 cm 
Profondeur: 90 cm 
Epaisseur: 8 mm  
Charnières chromées
Fixation: murale 
Garantie: 3 ans 
Verre transparent traité avec le RIHO SHIELD (anti-calcaire) 
Livré en standard avec une barre de stabilisation 
 
OPTIONS:
Largeur : 80 cm, 90 cm ou 100 cm 
Profondeur : 80 cm, 90 cm ou 100 cm 
Version d'angle: gauche ou droite 
En option : smoked (verre fumé) ou satinato (verre sablé) 
Charnières chromées ou noires mates 

Notre gamme est parfaite pour répondre à toutes les situations; ces écrans de bain sont soumis à la pureté absolue de la conception. 
Des matériaux de haute qualité pour une longue durée de vie; 

Les propriétés de RIHO-SHIELD: 
RIHO-SHIELD n’empêche pas la formation de gouttes d’eau.
RIHO-SHIELD favorise un écoulement parfait de l’eau de la surface de verre traitée, contrairement aux surfaces de verre non traitées. Avec RIHO-SHIELD, l’entretien de vos surfaces de verre sera plus facile en comparaison avec des surfaces de verre non traitées. Le nettoyage du verre sera non seulement moins souvent nécessaire, mais l’utilisation de détergents sera aussi limitée. RIHO-SHIELD ne remplace toutefois pas le nettoyage de vos surfaces de verre.

Consignes d’entretien: 
Pour l’entretien, nous vous conseillons d’utiliser un chiffon humide imbibé de détergents non abrasifs. Vous obtiendrez les meilleurs résultats en utilisant les nettoyants vitres réguliers. Nous vous faisons remarquer que la durée de vie de RIHO-SHIELD dépend également du degré de dureté de l’eau ainsi que de son utilisation. La combinaison de substances alcalines et de l’humidité ont une action agressive sur le verre. C’est pourquoi nous voudrions attirer votre attention sur le fait que l’entretien ne doit jamais se faire avec des détergents à l’acidité élevée.
RIHO-SHIELD se pose en paroi simple ou double avec un montage sur la gauche ou la droite. RIHO-SHIELD doit toujours se trouver à l’intérieur de votre douche. Il est possible, pour des raisons techniques de production, qu’un effet de perle se produise à l’extérieur de votre écran de douche. Cet effet n’est toutefois pas durable.

Garantie:
Les propriétés du verre sont garanties pendant 3ans à condition de respecter nos consignes d’entretien!

Fabrication Européenne

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SKU: 12554685309

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4.5 ★★★★★
Based on 1548 reviews
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Product Reviews
D
Verified Purchase
Diana D
Draper, US
★★★★★ 5
Very well written and easy to read.
Format: Paperback
Few people are as qualified as Philip Meyer to write a book on storytelling for lawyers. With a background as a trial lawyer, he has plenty of practical, real-life experience in the courtroom. His approach is not that of an academic giving purely theoretical advice, but that of a seasoned lawyer who knows the ins and outs of the legal profession. His experience as a professor (of both law and writing) has honed his ability to effectively communicate his ideas to a broad audience. Not only is this book helpful for the practicing lawyer, it is also useful and not too complex for the legal neophyte or casual reader. This book breaks storytelling (narrative) down to its core components and analyzes them one by one. In the process of analyzing each part of a story, Philip Meyer skillfully explores each component with a non-legal example (e.g. movies, books, etc.) before applying it to a legal example (e.g. courtroom proceedings, appellate briefs, closing arguments, etc.) By first analyzing each part of a story (i.e. plot, setting, etc.) from a well-known story that resonates with the reader, he sets a strong foundation before transitioning to a legal story, thus making it easy for the reader to identify and better understand each part of the legal story. I highly recommend this book to anyone remotely interested in storytelling and persuasion as they relate to the legal profession.
WAS THIS REVIEW HELPFUL?YesReportShare
Reviewed in the United States on November 22, 2016
J
Verified Purchase
JR
Pawtucket, US
★★★★★ 4
Must Read for Novice Litigators
Format: Paperback
This book is a great starting point for developing the skill of storytelling for lawyers as was intended by the author. The author gives you the basics for developing the plot, characters, style, setting, and narrative for your trial with excellent examples. The author is a law professor and the book seems geared for the law student or novice lawyers getting into litigation. I only gave the book 4 out of 5 stars because of a couple of minor problems. However, the chapter on narrative needs further exposition and appears to be written in rushed manner. In addition, the physical binding of the book is of poor quality requiring me to glue the cover back on. Finally, the author missed the point that the lawyer's job is to look at his case as a giant puzzle to be solved and then explained as a story.It is not enough to understand your case but equally imperative that you communicate your case which is best done through the storytelling technique. This is a must read for lawyers getting up to speed on litigation. For further exposition on legal storytelling for lawyers after reading Meyer's book on Storytelling for Lawyers, I recommend the following: ABA webinar available with an internet search for "Storytelling for Lawyers"
WAS THIS REVIEW HELPFUL?YesReportShare
Reviewed in the United States on July 25, 2018
T
Verified Purchase
Tahoeman
Lowell, US
★★★★★ 5
Much needed guide to narration in law practice
Format: Paperback
Meyer’s “Storytelling for Lawyers” is an important contribution to the literature on narration in law practice. We know that successful courtroom rhetoric can best be viewed through the prism of storytelling. But the literature does not contain a practical and detailed analysis of the elements of narration as used in law practice—that is, plotting, characterization, point of view, style, and settings in place and time. Meyer’s book fills this gap. It is blessedly free of jargon and full of practical examples of good legal storytelling. But the importance of this book goes well beyond providing practical assistance to litigators. It serves as a much-needed introduction to the principles of narration for teachers and students of literature, creative writing, and popular culture, who have lacked a readable introductory guide to the elements of successful storytelling.
WAS THIS REVIEW HELPFUL?YesReportShare
Reviewed in the United States on February 10, 2014
D
Verified Purchase
David R. Papke
Lowell, 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
D
Verified Purchase
DoubtfulReader
Fort Morgan, 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.
WAS THIS REVIEW HELPFUL?YesReportShare
Reviewed in the United States on June 27, 2017

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