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  • Produktbild: Storytelling for Lawyers
  • Produktbild: Storytelling for Lawyers

Storytelling for Lawyers

Fr. 252.00

inkl. gesetzl. MwSt., Versandkostenfrei

Beschreibung

Produktdetails

Einband

Gebundene Ausgabe

Erscheinungsdatum

27.02.2014

Verlag

Oxford Academic

Seitenzahl

256

Maße (L/B/H)

24/16.1/1.8 cm

Gewicht

499 g

Sprache

Englisch

ISBN

978-0-19-539662-1

Beschreibung

Produktdetails

Einband

Gebundene Ausgabe

Erscheinungsdatum

27.02.2014

Verlag

Oxford Academic

Seitenzahl

256

Maße (L/B/H)

24/16.1/1.8 cm

Gewicht

499 g

Sprache

Englisch

ISBN

978-0-19-539662-1

Herstelleradresse

Libri GmbH
Europaallee 1
36244 Bad Hersfeld
DE

Email: gpsr@libri.de

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Die Leseprobe wird geladen.
  • Produktbild: Storytelling for Lawyers
  • Produktbild: Storytelling for Lawyers

    • Chapter 1 - Introduction

    • I. Lawyers are Storytellers

    • II. Legal Arguments are Stories in Disguise

    • III. The Parts of a Story

    • IV. Movies and Closing Arguments

    • Chapter 2 - Plotting I: The Basics

    • I. What is Plot?

    • II. Plot Structure in Two Movies

    • Chapter 3 - Plotting II: Plot Structure in a Closing Argument to a Jury in a

    • Complex Torts Case

    • I. The "Back Story "

    • II. Annotated Excerpts from Spence's Closing Argument on Behalf of Karen

    • Silkwood

    • III. Concluding Observations

    • Chapter 4 - Character Lessons: Character, Character Development, and

    • Characterization

    • I. Introduction: Why Emphasize Movie Characters in Legal Storytelling?

    • II. What is Character, and Why Is It Important to Legal Storytellers?

    • III. Flat and Round Characters and Static and Changing

    • Characters-High Noon Revisited

    • IV. Techniques of Character Development and Characterization-Excerpts

    • from Tobias Wolff's This Boy's Life

    • Chapter 5 - Characters, Character Development, and Characterization in a

    • Closing Argument to a Jury in a Complex Criminal Case

    • I. The "Back Story "

    • II. Excerpts from the Opening: Act I- "The Setup " and "Confrontation "

    • III. Concluding Observations

    • Chapter 6 - Style Matters: How to Use Voice, Point of View, Details and

    • Images, Rhythms of Language, Scene and Summary, and Quotations and

    • Transcripts in Effective Legal Storytelling

    • I. Back Story: Grading Law School Examinations

    • II. Preliminary Note: "Voice " and "Style "

    • III. Voice and Rhythm: "Staying on the Surface "

    • IV. The Use of Scene and Summary: "Showing and Telling "

    • V. Telling in Different Voices

    • VI. Perspective or Point of View

    • VII. Several Functions of Perspective: How Does Perspective (Point of View)

    • Work, and What Work Does it Do?

    • VIII. Concluding Observations

    • Chapter 7 - A Sense of Place: Settings, Descriptions and Environments

    • I. Introduction

    • II. Dangerous Territory: Contrasting Settings Evoking Danger and Instability in

    • Joan Didion's "The White Album " and the Judicial Opinion in a Rape Case

    • III. More Dangerous Places Where Bad Things Happen: Use of Physical

    • Descriptions and Factual Details to Create Complex Environments in W.G.

    • Sebald's The Emigrants and the Petitioners' Briefs in Two Coerced Confession

    • Cases

    • IV. Settings and Environment as Villains and Villainy in the Mitigation Stories

    • of Kathryn Harrison's While They Slept and the Petitioner's Brief in

    • Eddings v. Oklahoma

    • V. Concluding Observations

    • Chapter 8 - Narrative Time: A Brief Exploration

    • I. Introduction

    • II. The Ordering of Discourse Time

    • III. Concluding Observations

    • Chapter 9 - Final Observations: Beginnings and Endings