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Description
britax plus car seat Britax Dualfix M Plus Car Seat | Shop | Toddler | ERF | FittingThe Dualfix M Plus is 360 car seat updated with refreshed design that can is used rearward facing, all the way up to 20kg 105cm. The 5 point safety harness is specially designed to distribute any force from impact to the stronger bones of the body and into the seat, and the performance chest pads help to reduce any forward movement in the event of an accident. The 360 rotation system is designed to reduce stress on your back as you get your child in
The Dualfix M Plus is 360° car seat updated with refreshed design that can is used rearward facing, all the way up to 20kg/105cm. The 5-point safety harness is specially designed to distribute any force from impact to the stronger bones of the body and into the seat, and the performance chest pads help to reduce any forward movement in the event of an accident.
The 360° rotation system is designed to reduce stress on your back as you get your child in and out of the Dualfix - just rotate the seat to face you - taking the strain away from your back, and when your child is ready for forward facing motoring, just rotate the Dualfix without the need to re-install. This car seat is also equipped with integrated rebound bar, that prevents the seat from bouncing back rotating over in case of the impact..
Britax Dualfix M Plus Features:
- Suitable from 61-105 cm | approx. 3 months – 4 years | up to 20kg
- i-Size (ECE R129). Fits all i-Size approved seating positions
- Rearward facing position from 61 to 105cm allows you to keep your child rearward facing even longer
- Forward facing position from 76 to 105 cm
- ISOFIX system allows direct connection to the car's ISOFIX anchorage points for a simple and safe installation
- Multiple recline positions allow comfortable sleeping positions - adjust without disturbing them
- Height-adjustable headrest and harness with easy single-handed adjustment allows the seat to grow with your child without the need to remove and re-thread the harness
- Deep, softly padded full side wings provide excellent Side Impact Protection for your child along with the entire seat
- Performance chest pads reduce your child's forward movement and energy that occurs in the event of an impact
- Installation indicators confirm the seat is installed correctly
- Height adjustable support leg
- Integrated rebound bar
- Quick-remove washable cover eliminates the need to remove the harness when washing the cover, therefore ensuring the harness is always installed correctly
- Belly pad for your child's comfort
- Softly padded cover keeps your child comfortable in their seat
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4.4 ★★★★★
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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