SKU: 35976254089

Nain Kaschmar | 398 x 304 cm | Nr. 12-481265

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Description

Nain Kaschmar | 398 x 304 cm | Nr. 12-481265Nain Kaschmar, beige Herkunft Persien Mae 398 cm x 304 cm (= 12. 1 qm) Herstellung handgeknpft Material Flor: Wolle Zustand neu Farbe beige Auflage Einzelstck Herkunft Die Teppiche aus der Stadt Nain verdanken ihre unverwechselbaren Muster und Farbkombinationen insbesondere dem Meister Hadj Fatollah Habibian Naiini. Er beschrnkte sich beim Knpfen auf weniger als zehn Farben und legte somit den Grundstein fr die Farbkomposition der heute noch sehr

Nain Kaschmar, beige

Herkunft
Persien
Maße 398 cm x 304 cm (= 12.1 qm)
Herstellung handgeknüpft
Material Flor: Wolle
Zustand neu
Farbe beige
Auflage Einzelstück

Herkunft

Die Teppiche aus der Stadt Nain verdanken ihre unverwechselbaren Muster und Farbkombinationen insbesondere dem Meister Hadj Fatollah Habibian Naiini. Er beschränkte sich beim Knüpfen auf weniger als zehn Farben und legte somit den Grundstein für die Farbkomposition der heute noch sehr beliebten Teppiche aus Nain. Die Grundfarben sind bis heute meist Weiß bzw. Beige und Blau, wobei auch immer öfter Nain-Teppiche in den Farben Rot, Grün und Gelb gibt. Typisch sind florale Muster, deren Konturen mit Seide betont werden. Durch die schlichte Eleganz und Reduktion auf wenige Farbtöne passen die Nain Teppiche auch hervorragend in moderne Einrichtungen.

Dieser Teppich mit dem typischen Muster der Nain-Teppiche wurde in der persischen Stadt Kaschmar geknüpft. Die Stadt Kaschmar liegt in Ost-Persien in der Provinz Chorassan und ist die Hauptstadt des gleichnamigen Verwaltungsbezirks. Sie hieß ursprünglich Turschis und wurde zu Zeiten Schah Resa in Kaschmar umbenannt. Manchmal gelangen die Kaschmar-Teppiche daher auch unter ihrem alten Namen als Turschis in den Handel.

Material

Der Flor dieses Nain Kaschmars wurde aus hochwertiger Schurwolle handgeknüpft. Schurwolle wird durch das schonende Scheren von Schafen gewonnen. Schurwolle ist ein nachwachsender, natürlicher Rohstoff mit einer Reihe beeindruckender Eigenschaften: Durch den natürlichen Fettgehalt der Wolle stößt die Oberfläche Wassertropfen ab und ist so auf natürliche Weise gegen Schmutz imprägniert. Wolle bietet außerdem eine hervorragende Wärmeisolation, wirkt regulierend auf das Wohnklima und dämpft den Schall.

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SKU: 35976254089

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4.4 ★★★★★
Based on 26 reviews
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Verified Purchase
David R. Papke
Birmingham, 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
Massapequa, 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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Verified Purchase
Matt M.
Fort Morgan, 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.
WAS THIS REVIEW HELPFUL?YesReportShare
Reviewed in the United States on January 19, 2021
J
Verified Purchase
J. Christian
Birmingham, 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
C
Verified Purchase
Classics professor
Bozeman, 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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