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Rosset Terroir Valle d'Aosta Petite ArvineHet wijnhuis Rosset Terroir vindt het belangrijk om de inheemse druivenrassen te beschermen. Zo wordt ook veel zorg gedragen voor de Petite Arvine. Deze druif heeft Zwitserse roots maar is ook in de Aostavallei veelvuldig aangeplant. Op een hoogte van 600 meter genieten de druiven van het klimaat en weten ze dankzij de zandgronden bijzondere eigenschappen te ontwikkelen. Handmatige oogst voor Rosset Terroir Valle d'Aosta Petite Arvine Met druiven
Het wijnhuis Rosset Terroir vindt het belangrijk om de inheemse druivenrassen te beschermen. Zo wordt ook veel zorg gedragen voor de Petite Arvine. Deze druif heeft Zwitserse roots maar is ook in de Aostavallei veelvuldig aangeplant. Op een hoogte van 600 meter genieten de druiven van het klimaat en weten ze dankzij de zandgronden bijzondere eigenschappen te ontwikkelen.Handmatige oogst voor Rosset Terroir Valle d'Aosta Petite Arvine
Met druiven aangeplant op hoogtes van 700 tot 1000 meter weet Rosset zich te onderscheiden. Ze zijn een voorbeeld voor de uitdagingen die Valle d’Aosta met zich meebrengt. Het is allesbehalve een makkelijk gebied voor de wijnbouw. In 2011 plantte de Rosset familie haar eerste wijngaarden. Cornalin, Chardonnay en Syrah worden geteeld in de rotsachtige, zandige grond in St Cirstophe. Later werd er ook aanplantingen toegevoegd in Chambave, bekend om de Moscato Bianco druif, en in Villeneuve waar ze hun Petite Arvine en Pinot Grigio laten groeien. Ze zetten zich met name in voor de inheemse druivenrassen. De Petite Arvine druiven worden met veel zorg eind september volledig met de hand geoogst. De druiven worden vervolgens vrijwel direct naar de wijnmakerij gebracht. Hier volgt een strenge controle en een zachte persing. Vervolgens vindt de fermentatie plaats in roestvrijstalen vaten bij een gecontroleerde temperatuur. Dit neemt een paar maanden in beslag. Tot slot rijpt de wijn ook nog eens op roestvrijstalen vaten. Na een paar maanden rust wordt de wijn gebotteld en is het tijd om te genieten van deze Valle d’Aosta Petite Arvine.Hoe smaakt de Rosset Terroir Valle d'Aosta Petite Arvine?
Met een mooie strogele kleur verschijnt de Valle d’Aosta Petite Arvine in het glas. Wellicht een wat onbekendere druifsoort maar wel eentje die mooie eigenschappen heeft. Zo heeft deze wijn in de neus aroma’s van bloemen, jasmijn, appel en citrus. De smaak is lekker sappig met een goede balans tussen zoet en zuur. Een evenwichtige witte wijn uit de Aostavallei.Shipping Notes
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4.4 ★★★★★
Based on 24 reviews
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Product Reviews
★★★★★ 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.
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Reviewed in the United States on May 7, 2014
★★★★★ 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
★★★★★ 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
★★★★★ 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.
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Reviewed in the United States on March 20, 2014
★★★★★ 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.
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Reviewed in the United States on April 20, 2017
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