SKU: 35898569047
red and black dress shirt

red and black dress shirt Iron Heart - IHSH-232-RED Ultra Heavy Flannel Buffalo Check Western Shirt

Sale price$20.89 Regular price$23.21
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Size: 4

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Description

red and black dress shirt Iron Heart - IHSH-232-RED Ultra Heavy Flannel Buffalo Check Western ShirtIron Heart's Ultra Heavy Flannel (UHF) Buffalo Check Western Shirt is about as iconic of a flannel that exists in this world. These are heavy pieces of fabric with rugged hardware and yet still very much soft on the inside. Trust us when we say that this is the last Buffalo Check flannel you'll ever need. Using a 12oz fabric with Aspero cotton from the foothills of the Andes mountains, Iron Heart finishes off this piece with a double brushing on the

Iron Heart's Ultra Heavy Flannel (UHF) Buffalo Check Western Shirt is about as iconic of a flannel that exists in this world. These are heavy pieces of fabric with rugged hardware and yet still very much soft on the inside. Trust us when we say that this is the last Buffalo Check flannel you'll ever need.

Using a 12oz fabric with Aspero cotton from the foothills of the Andes mountains, Iron Heart finishes off this piece with a double brushing on the interior, and a single brushing on the exterior. The result is your heaviest and softest flannel yet, thick and hefty, and well worth every dollar spent.

Note: Generally runs TTS for a slim fit, however keep an eye on the shirt length. Some customers (with longer torsos) may find their normal size too short, and thus opt to size up for an appropriate length. Cold wash, hang dry for minimal shrinkage. Hot wash, tumble dry may result in shrinking half a size.

Model: 6'0'' and 175 lbs. wearing size L for a tailored fit through the body and arms, and has good length on the body. Model can also wear size M, but it is much more snug around the chest, armpits, and forearm, and feels a but constricted at the elbow when bending arm. The M fits like a dress shirt (slim and fitted), but for a heavy flannel, not as appropriate. Model prefers the size L.

  • Iconic 12oz buffalo check fabric
  • Woven with 100% Aspero cotton yarn
  • Exterior once brushed, interior twice brushed
  • Custom black Iron Heart Permex snaps
  • Triple, double and single needle stitch construction
  • One-washed, but could shrink up to half a size with continual or very hot washing/tumble drying
  • Made in Japan
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SKU: 35898569047

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David R. Papke
Cuba, 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
San Leandro, 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
M
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Matt M.
Bozeman, 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
J
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J. Christian
Draper, 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
Port Orchard, 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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