umbrella sentence essay

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2.6: Writing a Conclusion Paragraph

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• Gabriel Winer & Elizabeth Wadell
• Berkeley City College & Laney College via ASCCC Open Educational Resources Initiative (OERI)

The main parts of a conclusion

The conclusion, or concluding paragraph, is the final paragraph in the essay. Because it is put at the end, it is the last paragraph your readers will read. It will wrap up your ideas and leave them something to think about. Having a strong conclusion will help to leave a clear idea in the reader's mind.

With the introduction you started with a broader idea (the hook) and got more specific as you moved through the background section, until you got to the very focused thesis statement. In a conclusion you will do the opposite. You will start with the specific ideas in your paper and move outwards, ending on a bigger idea that is related to your topic but not covered in the body paragraphs.

The three main parts of a conclusion are

• Umbrella sentence
• Food for thought

Let's look at each of them in more detail.

The umbrella sentence is one sentence that gives the main idea of your whole paper. It is similar to your thesis, but it should have different words and can also be a little simpler. It is called an umbrella sentence because one sentence covers all the points of your essay, just like an umbrella covers all of your body and protects you from the rain (see figure 2.6.1).

Let's compare a thesis statement with an umbrella sentence:

Here is a student's thesis statement: “The problem with stereotypes is not that they are untrue, but that they are incomplete, and make one story become the only story.”

A possible umbrella sentence could be: “Stereotypes are harmful because they present flawed and incomplete views of a person or a group of people.”

Notice how the umbrella sentence covers the same general information as the thesis statement, but is less detailed.

Remind the reader of the points you made in your essay so they can see how everything fits together. Summarize the main idea of each paragraph in 1to 3 sentences. Try to change the words so you are not using the exact same language as your topic sentences.

Identifying the summary

Let's see what that looks like:

Notice this!

Read the following conclusion. The sentences [in brackets] are summary sentences that indicate the contents of the writer’s body paragraphs.

          Stereotypes are harmful because they present flawed and incomplete views that can lead to prejudice. [On an individual level, they take away a person’s true identity; a person is given a label based on a group identity that cannot accurately be applied to each person. On a societal level, stereotypes can lead to policies that discriminate against particular groups of people. Stereotypes can also lead to physical violence, as in the examples of the anti-Muslim mosque attacks and anti-Semitic synagogue attacks in Southern California.] By working hard to combat our own biases and speaking up when we see a “single story” dominate, we can lessen the damaging impact of stereotypes and make the world a safer, more equitable place.

Finally, give some final idea to leave the reader thinking. We call this "food for thought" because the reader will need to spend some time pondering and digesting it, just as you spend some time eating and digesting food (see figure 2.6.2). Basically, as you say goodbye to your reader you want them to keep thinking about the ideas in your essay and why these ideas are important. Your food for thought can be:

• a suggestion
• an explanation of why this is important or what you want readers to learn
• a reflection on how your own thinking changed through writing this.
• a prediction or warning for the future
• return to the hook from the introduction with an explanation of how the knowledge we have gained through your paper changes our understanding of it (this makes your paper feel like a full circle, and can be satisfying for the reader)

Identifying food for thought  

Let's see what some of these look like:

Can you identify what type of food for thought is shown in each of the following sentences?

• By working hard to combat our own biases and speaking up when we see a “single story” dominate, we can lessen the damaging impact of stereotypes and make the world a safer, more equitable place.
• Researching the topic of bias revealed some large gaps in my understanding, and now I realize that more than ever, identifying and addressing our own personal biases is critical.
• Although it may be easier to avoid the potential discomfort of considering more than a “single story” about a person or group of people, failure to take multiple stories into account risks a bleak, increasingly polarized future.

Identifying the parts of a conclusion

Let's see if you can identify the main parts of a conclusion:

Here is the conclusion to the summary/response essay we looked at earlier in this chapter. Can you find the umbrella sentence, summary, and food for thought?

          In “Stereotype Threat,” McRaney and her colleagues clearly and evenhandedly explain the phenomenon of stereotype threat. Their choice of language makes the chapter interesting and accessible to students who may not have training in the social sciences, even as the authors cite many academic sources. The authors also spend time addressing and responding to some common criticisms of and doubts about the existence of stereotype threat, which makes the ideas they discuss more credible. Furthermore, the content is relatable: the examples provided in the text helped me identify an instance of stereotype threat in my own life and made me think about other situations where stereotype threat may have been at play. Their chapter highlights an important phenomenon and, with this knowledge, institutions and individuals can take steps to create environments in and out of the classroom that lessen the chance stereotype threat will negatively (and needlessly) affect performance.

(For possible answers, check the 2.15: Answer Key: Organization and Cohesion .)

Writing your conclusion

Let's put this all together in your own writing:

Apply this!

Look at a draft of your writing, focusing on the conclusion.

• Can you identify the three main elements of a conclusion?
• Is your umbrella sentence directly connected to, but not exactly the same as, your thesis statement?
• Does your summary address all the topics in your body paragraphs? (Hint: Look at the topic sentences in each body paragraph; this should help you answer this question.)
• What information do you leave your reader with in the very last sentence? A suggestion? A return to your hook? Or something else?

Section review

• The conclusion, or concluding paragraph, is the final paragraph in your essay.
• A strong conclusion will help to leave a clear idea in the reader's mind.

Licenses and Attributions

Authored by Susie Naughton, Santa Barbara City College, Clara Zimmerman, Porterville College, and Elizabeth Wadell, Laney College. License: CC BY NC.

Developing a Thesis: Finding the Umbrella Idea

Developing a good thesis is often the result of finding the "umbrella idea." Finding this idea requires that students move back and forth between a text's particularities and its big ideas in order to find a suitable "fit" between the two that the students can write about. This fit is then summed up in the "umbrella idea," or the big idea that all of their observations can stand under.

For instance, in an exploration of the Gospels as rhetoric, a student makes the specific observation that, in three of the four gospels, Jesus is reported as saying dramatically different things during his crucifixion. This observation by itself won't produce a paper - it's simply a statement of fact, with which no one will disagree. Nevertheless, this observation provokes a broader question: do these differences constitute a contradiction in the text? And if so, how do we understand this contradiction? What are the conditions of religious truth? Is there room for a contradiction as important as this?

Of course, these questions are too big to be addressed in an academic paper. And so the student returns to the text, still with these too-big questions haunting him. Reviewing the specific contradictions of the text, he crafts another set of questions: How should we understand the differences we see across the four gospels? What might have inspired these writers to craft this important crucifixion scene differently - particularly when, as is true of the authors of Matthew and Luke, they were using the same sources? The student posits that these differences arise from a difference in audience, historical moment, and rhetorical purpose. He turns to scholarship and finds his interpretation confirmed.

But the bigger questions persist. If the gospels are constructed to serve the earthly purposes of converting or supporting the beliefs of specific audiences, how can they also be considered as true? After doing a great deal of sketching, the student posits that perhaps the differences and contradictions are precisely what communicates the texts' truth to its audience of believers. After all, if the truth of a supreme being is beyond human grasp, then perhaps it requires a many-voiced or polyglossic narrative. With this idea in mind, the student produces a paper that not only details the variances across the texts, but offers a claim about why an audience of believers are not deterred by the differences. It is this claim that serves as the umbrella idea, synthesizing the student writer's various observations and ideas.

To sum up, successful employment of the umbrella method depends on four steps:

• Students must move fluidly back and forth between the text and their abstractions/generalizations, ready to adjust their ideas to the new evidence and new abstractions that they encounter.
• Students must sketch their ideas. Drawing their ideas helps students pull their thinking out of linear, two-dimensional modes, enabling them to see multiple possibilities for their essays.
• Students must seek an umbrella idea, under which their ideas can stand. To get to this umbrella idea, they need not only to analyze but to synthesize: they need to bring disparate ideas together, to see if they fit.
• They further need to create this synthesis by playing with language, creating an umbrella sentence that can embrace their ideas. This requires that students write and revise their thesis sentence several times as they write their paper. It also requires that students have a basic understanding of the principles of style, so that they can understand how to place their ideas in appropriate clauses, create the proper emphasis, and so on.

About the Author :

Karen Gocsik is the Director of the Analytical Writing Program at the University of California, San Diego.

Umbrella Statements

What is an umbrella statement.

An umbrella statement, also known as a topic sentence, applies the BLUF (Bottom Line Up Front) approach, which includes stating the purpose of your message and summarizing the points that support the purpose.

Creating an umbrella statement involves 4 steps:

Determine your purpose: "What is the point I am trying to convey with the details I have written in my draft?” Ex: To demonstrate an ability to provide the expected results given limited resources.

Summarize the supporting evidence: “What are the most important points supporting the purpose?” Ex: All travel expenses, research, and publication costs must be met within a limited budget of $2000.

Tell your story: "Which details will convince my reader of the claims I am making?" Ex: We created a detailed budget based on estimated expenses in 3 categories: travel, research, and publication. The budget spreadsheet will be provided as supporting evidence of how we accomplished our budget goals. Your roadmap for the next part of your message .

State the goal. Connect the purpose to the larger point the paper makes (the thesis): "Why does this point matter?" Ex: The career path I am pursuing in the non-profit sector will require me to accurately estimate and track expenses needed to complete my work.

Ex: My capstone project required my team to rely on a limited budget of $2000 for all travel, research, and publication expenses to provide the results our client expected. Working within a budget is important because the career path I am pursuing in the non-profit sector will require me to accurately estimate and track expenses needed to complete my work.

Next, develop your supporting points from most to least important. Provide clear explanations and details and stay on point. Avoid rabbit trails: "Based on the purpose of my message, which details distract from my point and need to be omitted?" Ex: In addition to limited resources, we also had a tight deadline of 4 months to complete all of the work. [rabbit trail]

This type of organization will have more impact than one that relies on a narrative to organize your points. Most readers are more interested in the "bottom line" (whether it be the information you learned from your research, the skill you acquired while on the job, the conclusion your analysis draws, the recommendation your evaluation makes) rather than the story behind it.

These handouts will help you create umbrella statements for your papers.

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• Teaching Guidelines

Teaching the Thesis Sentence

Most writing teachers agree that the thesis occupies a very important position, both in our student papers and in our teaching. We also agree that students tend to "rush" the thesis, and that the dominance (or even the presence) of a thesis (especially a premature thesis) can get in the way of a good paper. Accordingly, most writing instructors have a repertoire of methods to help students find a thesis that will focus and guide an interesting and persuasive academic paper. We offer some of those methods here, with the observation that these instructors in fact teach the thesis in multiple ways in their classrooms.

Tips for Helping Your Students to Write Better Theses

Here, then, are some things to try as you get students to write better theses:

• Respect their opinions (even if you don't agree with them), and show them how to harvest these opinions for academic purposes.
• Ask students to look for parts and patterns in a text and to develop their analysis from these patterns.
• Move your students back and forth, from the particular to the general, until they find the right "fit" between their particular observations and the Big Idea of the text.
• Ask them to develop an "umbrella idea" that synthesizes seemingly disparate observations.
• Instruct your students to look for hidden assumptions, both in the texts they're writing about and in their own work. Present the question: What needs to be true about the world for this claim to be true?
• Help your students expand their thesis sentences by introducing a counter-claim or complicating evidence. Then work with them to consider how to balance these claims in their paper/thesis.
• Debunk the thesis—and then debunk the debunking. Encourage students to keep looking for evidence that challenges their thesis (and not just evidence that supports it).
• Ask students to draw their papers. This frees them from thinking linearly and helps them to consider possibilities that might not have appeared to them otherwise.
• Warn students against common thesis problems, including the One-Size-Fits-All Thesis and the Laundry List Thesis. Encourage them to integrate their ideas rather than list them.
• Finally, remind students that there is no formula for a good thesis: form is dictated by idea, and not vice versa. Understanding the principles of style will help you and your students to create a sentence whose structure reflects the structure of the argument.

Shelby Grantham: Thesis Writing from the Solar Plexus

Professor Grantham's advice, in a nutshell, is "Find a topic that matters to you, and then figure out why it matters to you." This may sound like an obvious place to start, but it's not. Students are generally looking not for topics that interest them, but topics that interest the teacher—not understanding that we find it exciting to discover their arguments, their points of view.

Students often have very good instincts about paper topics, but they don't know what to do with their ideas. The first thing that they are likely to do is to take their good instinct for a paper topic and try to abstract it. Before attempting any abstractions, students should first consider why this topic, in particular, interests them. Professor Grantham has her students freewrite on a topic, asking them to explore their own feelings, experiences, and ideas. Students are not to worry about grammar, nor are they asked to consider structure. Rather, they are asked to respond as honestly and as fully as they can.

The instructor will then use this freewrite as the starting point for a conference about the paper that the student really wants to write. In that conference, Professor Grantham and the student "mine" the freewriting exercise for possible paper topics—not theses, but topics.

Once a topic is selected, students must consider it carefully before proposing a thesis. Professor Grantham will eventually ask students to do the necessary textual analysis or research, but before she does she asks students to unpack their own beliefs on the topic. Professor Grantham proceeds on the assumption that our students have a vast amount of information and opinion stored within, and that they have warrant for the beliefs they carry with them. She asks them to determine where they got the evidence for their beliefs—to trace the source of the belief to family members, friends, television. Once they've found the roots of their beliefs, they are then ready to decide whether they want to hold firm or change their minds.

Finally, students are ready (tentatively) to posit a thesis.

John Donaghy: Finding Patterns, Solving Problems

Professor Donaghy's method is founded on the understanding that analysis is a complicated process that requires us to break down a text (event, object, or phenomenon) into parts, discovering patterns among the parts, and coming up with a theory for why these patterns exist. Donaghy believes that students are initially afraid of analysis, and that their initial attempts at it are either overly simple, or disjointed and disorganized. He's puzzled by this fear, as we are analyzing all the time: life presents us with data that we are continually sorting by finding patterns, creating categories, and making meaning. Analysis is requisite for something as simple as crossing the street. Students can be encouraged to see that they already possess analytical skills that can be transferred to writing papers.

Professor Donaghy suggests three steps regarding a simple analysis of the following Gary Snyder poem, "Pine tree tops:"

In the blue night frost haze, the sky glows with the moon pine tree tops bend snow-blue, fade into sky, frost, starlight. The creak of boots. Rabbit tracks, deer tracks, what do we know.

First, when analyzing, students need to be conscious of examining parts of a text, looking for patterns (or repeating elements). In a short poem, students can make a number of simple observations, including:

• Number of words (34)
• Number of syllables in words (mostly single syllable)
• Parts of speech: mostly nouns; adjectives are scarce; surprisingly few verbs

Second, students need to try to determine how these parts and patterns are speaking to each other. Do these parts and patterns illustrate a similarity? Draw a contrast? Create an emphasis? Together form a new observation or idea? In terms of the poem:

• Nouns: so many nouns emphasizes the "thing-ness" of the poem
• Adjectives: very few; one (blue) is attached to a noun
• Verbs: the verbs (glows, bend, fade) are gentle, yielding verbs

Finally, students can put forward a proposition. For instance: Snyder builds his poem on nouns to give power to the "things" in his scene. OR Snyder chooses verbs that seem to yield to the nouns in order to tell us how to behave in the presence of nature. This proposition, with some tweaking, can become a working thesis.

Karen Gocsik: Finding the Umbrella Idea

Finding the "umbrella idea" requires that students move back and forth between a text's particularities and its big ideas in order to find a suitable "fit" between the two that the students can write about. This fit is summed up in the "umbrella idea," or the big idea that all of their observations can stand under.

Some students begin with a very specific observation about a text—for instance, that on page 264 of Milan Kundera'sImmortality, the heroine of his novel declares that her father was her only love. This observation can't yield a paper. So what does the student do? She generalizes the issue. In other words, she looks not at the individual father-daughter relationship but considers other father-daughter relationships in the novel. But this observation won't yield a paper, either. The student must think in particulars once again, comparing the relationships to find interesting patterns. What she comes up with is that in one relationship, the daughter looks to the father for guidance; in the other she sees that it's quite the opposite: the father believes that his daughter has wisdom and seeks her counsel. Again, still not much going on. It's time to generalize to the novel's big ideas—which include an attack on modernism and a nostalgia for the traditions of Europe. Interestingly, the father daughter relationships can be linked, via textual evidence, to these ideas. The student has discovered a "fit" between the big ideas and her particular observations that can yield a paper.

The key to success in this method rests in four processes:

• Students must move fluidly back and forth between the text and their abstractions/generalizations, ready to adjust their ideas to the new evidence and new abstractions that they encounter.
• Students must sketch their ideas. Drawing their ideas helps students pull their thinking out of linear, two-dimensional modes, enabling them to see multiple possibilities for their essays.
• Students must seek an umbrella idea, under which their ideas can stand. To get to this umbrella idea, they need not only to analyze but to synthesize: they need to bring disparate ideas together, to see if they fit.
• They further need to create this synthesis by playing with language, creating an umbrella sentence that can embrace their ideas. This requires that students write and revise their thesis sentence several times as they write their paper. It also requires that students have a basic understanding of the principles of style, so that they can understand how to place their ideas in appropriate clauses, create the proper emphasis, and so on.

Sara Biggs Chaney: Evolving the Thesis by Unpacking the Assumptions & Making Counter-Claims

Professor Chaney's method asks students to arrive at a thesis by examining their assumptions. She begins her instruction by introducing the student to the enthymeme. Like the syllogism (All men are mortal; Socrates is a man; therefore, Socrates is mortal), the enthymeme has three parts: the major premise, the minor premise, and the conclusion. The difference is that in the case of the syllogism the major premise is based on fact (All men are mortal), while in the enthymeme it's based on a commonly held belief (cheating is unethical, smoking around children is a danger to their health, etc.). As Professor Chaney notes, in many cases the enthymeme is presented with the major premise left unstated: She smokes around her daughter; she endangers her daughter's health. Professor Chaney illustrates the importance in finding the "missing" major premise, arguing that unpacking an argument's unstated assumptions can help students to better analyze the texts they're writing about, and to create better texts of their own.

The key question to ask is: What must be true about the world in order for this statement to be true? Students are asked to put forth all hidden assumptions, large and small. This forces the students to dig beneath the surface of the text, to explore the structure and the nuance of the argument. In the process, ideas for a thesis will present themselves.

Once the students have drafted a thesis, Professor Chaney has a strategy (borrowed from David Rossenwasser and Jill Stephen's Writing Analytically) for evolving the thesis by putting forward counter-claims. She has found Rossenwasser and Stephen's types of weak thesis statements—"Procrustes' Bed" and "The Laundry List"—useful in diagnosing logic problems in student writing. Students tend either to force a diversity of evidence to fit an overly rigid claim, or to present their claim in the form of a list, with few connections between the points. To evolve the thesis, Professor Chaney requires students to begin with their basic claim and then to methodically increase the complexity of that claim through the introduction of complicating evidence. This new evidence forces students to redefine their initial claims and to determine how the counter-claim might or might not be accommodated by their thesis.

For instance, a student may have written the following thesis: "Reported cases of autism in children have increased by almost 200% in the last twenty years because autism has been redefined to include less severe forms of the disorder." Professor Chaney presents them with this complicating evidence: "Some research also suggests that autism may be linked to mercury exposure in childhood vaccines." Students may weigh the evidence to see which has more merit; they might expand their thesis to point to two reasons for rising autism; they might acknowledge the truth in both statements but want to subordinate one argument to the other; they might point out a causal relationship between the two sentences (i.e., has the frequent levels of mercury exposures led to a new definition of autism in the DSM-IV, which in turn has increased the numbers of reported cases of autism?). Using any of these methods, students will have improved their thesis sentences.

Tom Cormen: Debunking (and Re-Debunking) the Thesis

Professor Cormen also recognizes that students are quick to "rush to thesis," and so he created an exercise to show students how additional information (research) can flesh out a thesis sentence. Professor Cormen presents students with a short poem, "Baseball's Sad Lexicon," written in 1908 by Franklin P. Adams, for the New York  Globe . The poem laments how often it seemed that the Chicago Cubs' infield, with Joe Tinker, Johnny Evers, and Frank Chance, turned double plays to stifle potential rallies by the New York Giants:

These are the saddest of possible words,  Tinker-to-Evers-to-Chance.  Trio of Bear Cubs, fleeter than birds,  Tinker-to-Evers-to-Chance.  Ruthlessly pricking our gonfalon bubble,  Making a Giant hit into a double,  Words that are weighty with nothing but trouble,  Tinker-to-Evers-to-Chance.

Professor Cormen points out to his students that Tinker, Evers, and Chance are all in the Baseball Hall of Fame. They must have formed one of the greatest double-play combinations ever. Or did they? To debunk the myth of Tinker-to-Evers-to-Chance, Professor Cormen gives his students another essay, written in 1954 by Warren Brown, called "Don't Believe Everything You Read." This essay challenges the Tinker-to-Evers-to-Chance mystique by doing a bit of investigating uncovering that, at the height of their careers (1906 - 1909), the Tinker-to-Evers-to-Chance combination turned only 29 double plays. By comparison, a second baseman with the Detroit Tigers participated in 150 double plays in 1950 alone, and a shortstop with the Cleveland Indians figured in 134 double plays in 1944. By demonstrating that players a few decades later were turning many times the double plays in one season that Tinker, Evers, and Chance were turning in four seasons, clearly the writer of this essay has debunked the legend of Tinker-to-Evers-to-Chance.

Or has he? Professor Cormen asks students to consider the differences between baseball in 1908 and 1950. First, he asks them to consider the conditions of baseball fields in 1908: the fields were pocked and rocky, far from the groomed surfaces that we see today or were the norm by 1950. Second, he asks them to consider the gloves: not the cestas we see on players' hands today, or even the webbed gloves that players wore by the 1940s, but more like the winter gloves that we wear today, without the insulation. Finally, he asks students to consider the ball: it was neither perfectly round (balls were not as hard before the 1920s, and when a batted ball went into the stands, it was thrown back onto the field and continued to be used) nor perfectly white (before the spitball was outlawed in 1920, balls were stained brown with tobacco juice, making them hard to see). Tinker, Evers and Chance were playing on a field like a parking lot, with gloves like a motorman's mitt, and with a ball that more resembled a mini-football than what we think of as today's baseballs. How could anyone expect them to turn 150 double plays per year? Clearly, with this additional evidence, students are moved to compose a more complex thesis.

The moral of the story: as students engage in research, they will encounter evidence that will debunk (or at least challenge) their ideas. Encourage this research, and support students as they work toward better thesis sentences.

Module 2 Starting Off Right with Planning

Click on the links below to go to that section of the module.

• Introduction
• Learning Objectives
• The Writer’s Purpose
• Anticipating the Needs of Your Readers
• The Main Message
• Examples of Main Messages
• Writing a Main Message

Umbrella and Thesis Statements

• Identify Umbrella and Thesis Statements
• Determine the Main Message: Step 1
• Determine the Main Message: Step 2
• Analyzing Reader Dialogues
• Assignment 2: Dialogue With the Reader Worksheet
• Resources and Documents

Depending on the type of report you are writing or on your reader’s needs, your main message can take different forms. For the most part, however, your main message should show that you have taken a position on the subject about which you are writing. When a sentence reveals the writer’s position, it is called a thesis statement . On the other hand, sometimes your main message will be more neutral in tone, especially in cases where you are presenting new information that has yet to be analyzed more thoroughly. These types of statements are called umbrella statements and they more closely resemble statements of fact.

Take a look at the following three statements on the subject of crop outputs. Each statement represents a different level of the writer's position. Read through each one and see how they differ.

• Conjunctions
• Prepositions

UMBRELLA in a Sentence Examples: 21 Ways to Use Umbrella

Have you ever wondered how a simple object like an umbrella can completely change your day? An umbrella, typically a collapsible canopy made of fabric or other material, is designed to protect you from rain or sunlight. It is a versatile tool that serves as a shield against the elements, providing a portable cover wherever you go.

This everyday object exemplifies the intersection of practicality and convenience in our lives. Not only does an umbrella keep you dry on a rainy day, but it also offers shade on a sunny afternoon. Its compact design allows for easy transportation and storage, making it a staple accessory for people of all ages.

Table of Contents

7 Examples Of Umbrella Used In a Sentence For Kids

• Umbrella keeps us dry in the rain.
• I like to twirl my umbrella in the sun.
• Mom bought me a colorful umbrella .
• We take our umbrella when it’s cloudy outside.
• I see a bird sitting on top of the umbrella .
• The umbrella has stripes and polka dots.
• I open my umbrella when it starts to rain.

14 Sentences with Umbrella Examples

• Don’t forget to bring your umbrella to campus, it might rain later.
• The sun is scorching today, I wish I had brought my umbrella for some shade.
• My umbrella got blown away in the strong wind, now I’m stuck in the rain.
• I always keep an umbrella in my bag during monsoon season in India.
• Sharing an umbrella with a friend while walking to class can be a nice gesture.
• It’s a good idea to check the weather forecast before leaving home to see if you’ll need your umbrella .
• I like to pick a colorful umbrella to add some fun to rainy days.
• Holding an umbrella can make waiting for the bus more comfortable during the rainy season.
• It’s a common sight to see a group of students huddled under a single umbrella during sudden rain showers on campus.
• Some students use their umbrella as a makeshift sunshade while sitting in the courtyard studying.
• Properly storing your umbrella after use can help prevent it from getting damaged by mold or rust.
• Carrying an umbrella in your backpack can be a lifesaver when unexpected rain catches you off guard.
• Freshmen often forget to pack an umbrella , but they quickly learn the importance of having one in their college survival kit.
• Watching the rain through the fabric of your umbrella can be surprisingly calming during stressful exam periods.

How To Use Umbrella in Sentences?

Umbrella – When you need to shield yourself from the rain or sun, an umbrella is the perfect tool. To use umbrella in a sentence, simply incorporate it as a noun to describe the device used for protection against precipitation or sunlight.

Here are a few examples to help you understand how to use umbrella in a sentence:

• “I always carry an umbrella in my bag so I stay dry during unexpected rain showers.”
• “She used her colorful umbrella to shield herself from the sun at the beach.”
• “Don’t forget to grab your umbrella before you leave the house, it looks like it might rain today.”
• “The wind was so strong that it turned my umbrella inside out.”
• “He lost his favorite umbrella on the bus and had to buy a new one.”

Remember to place the word umbrella appropriately within your sentence to accurately convey your message. Whether it’s for rain or sun protection, an umbrella is a handy tool to have when you’re out and about. Practice using umbrella in different sentences to become more comfortable incorporating it into your daily vocabulary.

In conclusion, the sentences with “umbrella” demonstrate its versatile usage across different contexts. From describing a common rainy day accessory to metaphorically symbolizing protection or a comprehensive group, “umbrella” offers a range of meanings. The examples showcasing its literal and figurative applications illustrate how this single word can convey various ideas and evoke different imagery.

Overall, the sentences with “umbrella” highlight the richness of language and how a seemingly simple word can hold multiple layers of meaning. Whether used to talk about shielding oneself from rain or representing a broad concept of coverage and inclusivity, “umbrella” exemplifies the depth and nuance that words can bring to everyday communication.

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• How to Write a Thesis Statement | 4 Steps & Examples

How to Write a Thesis Statement | 4 Steps & Examples

Published on January 11, 2019 by Shona McCombes . Revised on August 15, 2023 by Eoghan Ryan.

A thesis statement is a sentence that sums up the central point of your paper or essay . It usually comes near the end of your introduction .

Your thesis will look a bit different depending on the type of essay you’re writing. But the thesis statement should always clearly state the main idea you want to get across. Everything else in your essay should relate back to this idea.

You can write your thesis statement by following four simple steps:

• Start with a question
• Write your initial answer
• Develop your answer
• Refine your thesis statement

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Table of contents

What is a thesis statement, placement of the thesis statement, step 1: start with a question, step 2: write your initial answer, step 3: develop your answer, step 4: refine your thesis statement, types of thesis statements, other interesting articles, frequently asked questions about thesis statements.

A thesis statement summarizes the central points of your essay. It is a signpost telling the reader what the essay will argue and why.

The best thesis statements are:

• Concise: A good thesis statement is short and sweet—don’t use more words than necessary. State your point clearly and directly in one or two sentences.
• Contentious: Your thesis shouldn’t be a simple statement of fact that everyone already knows. A good thesis statement is a claim that requires further evidence or analysis to back it up.
• Coherent: Everything mentioned in your thesis statement must be supported and explained in the rest of your paper.

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The thesis statement generally appears at the end of your essay introduction or research paper introduction .

The spread of the internet has had a world-changing effect, not least on the world of education. The use of the internet in academic contexts and among young people more generally is hotly debated. For many who did not grow up with this technology, its effects seem alarming and potentially harmful. This concern, while understandable, is misguided. The negatives of internet use are outweighed by its many benefits for education: the internet facilitates easier access to information, exposure to different perspectives, and a flexible learning environment for both students and teachers.

You should come up with an initial thesis, sometimes called a working thesis , early in the writing process . As soon as you’ve decided on your essay topic , you need to work out what you want to say about it—a clear thesis will give your essay direction and structure.

You might already have a question in your assignment, but if not, try to come up with your own. What would you like to find out or decide about your topic?

For example, you might ask:

After some initial research, you can formulate a tentative answer to this question. At this stage it can be simple, and it should guide the research process and writing process .

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Now you need to consider why this is your answer and how you will convince your reader to agree with you. As you read more about your topic and begin writing, your answer should get more detailed.

In your essay about the internet and education, the thesis states your position and sketches out the key arguments you’ll use to support it.

The negatives of internet use are outweighed by its many benefits for education because it facilitates easier access to information.

In your essay about braille, the thesis statement summarizes the key historical development that you’ll explain.

The invention of braille in the 19th century transformed the lives of blind people, allowing them to participate more actively in public life.

A strong thesis statement should tell the reader:

• Why you hold this position
• What they’ll learn from your essay
• The key points of your argument or narrative

The final thesis statement doesn’t just state your position, but summarizes your overall argument or the entire topic you’re going to explain. To strengthen a weak thesis statement, it can help to consider the broader context of your topic.

These examples are more specific and show that you’ll explore your topic in depth.

Your thesis statement should match the goals of your essay, which vary depending on the type of essay you’re writing:

• In an argumentative essay , your thesis statement should take a strong position. Your aim in the essay is to convince your reader of this thesis based on evidence and logical reasoning.
• In an expository essay , you’ll aim to explain the facts of a topic or process. Your thesis statement doesn’t have to include a strong opinion in this case, but it should clearly state the central point you want to make, and mention the key elements you’ll explain.

If you want to know more about AI tools , college essays , or fallacies make sure to check out some of our other articles with explanations and examples or go directly to our tools!

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• False cause fallacy
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A thesis statement is a sentence that sums up the central point of your paper or essay . Everything else you write should relate to this key idea.

The thesis statement is essential in any academic essay or research paper for two main reasons:

• It gives your writing direction and focus.
• It gives the reader a concise summary of your main point.

Without a clear thesis statement, an essay can end up rambling and unfocused, leaving your reader unsure of exactly what you want to say.

Follow these four steps to come up with a thesis statement :

• Ask a question about your topic .
• Write your initial answer.
• Develop your answer by including reasons.
• Refine your answer, adding more detail and nuance.

The thesis statement should be placed at the end of your essay introduction .

Cite this Scribbr article

If you want to cite this source, you can copy and paste the citation or click the “Cite this Scribbr article” button to automatically add the citation to our free Citation Generator.

McCombes, S. (2023, August 15). How to Write a Thesis Statement | 4 Steps & Examples. Scribbr. Retrieved April 16, 2024, from https://www.scribbr.com/academic-essay/thesis-statement/

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Essay on Umbrella

Students are often asked to write an essay on Umbrella in their schools and colleges. And if you’re also looking for the same, we have created 100-word, 250-word, and 500-word essays on the topic.

Let’s take a look…

100 Words Essay on Umbrella

Introduction.

An umbrella is a handy tool that provides protection from the weather. It is primarily used to shield us from rain and sun.

Design and Use

Umbrellas have a central rod, a handle at the bottom, and a canopy made of fabric. When opened, they cover a large area.

Significance

Umbrellas are significant in our daily lives. They protect us from getting wet in the rain or from harmful sun rays.

In conclusion, umbrellas are simple yet essential tools. They offer us comfort and protection, making them indispensable in our lives.

Also check:

• 10 Lines on Umbrella

250 Words Essay on Umbrella

An umbrella, an everyday object, has a profound significance that often goes unnoticed. It is a symbol of shelter, protection, and even solidarity in various cultures.

Historical Overview

The umbrella’s origins can be traced back to ancient civilizations such as Egypt, China, and Greece. It was not merely a tool for protection against weather elements but also a status symbol, with its design and materials reflecting the user’s social standing.

Umbrella: A Technological Perspective

The umbrella has evolved over centuries, adapting to societal needs and technological advancements. From the basic stick-and-leaf design to modern automatic, wind-resistant versions, the umbrella exemplifies human ingenuity. The incorporation of materials like nylon, fiberglass, and even UV-protective fabrics shows how the umbrella has transformed to meet contemporary demands.

Symbolism and Cultural Significance

In a broader cultural context, the umbrella symbolizes protection and care. In protests, it has emerged as a symbol of resistance, as seen in the 2014 Hong Kong Umbrella Movement. It has also been immortalized in art and literature, representing both solitude and companionship.

Environmental Impact

The environmental footprint of umbrellas, particularly disposable ones, is a growing concern. The challenge lies in developing sustainable, durable designs that minimize waste and environmental impact.

The umbrella, in its simplicity, embodies the fusion of culture, technology, and symbolism. It is a testament to human creativity and adaptability, reminding us of our journey from mere survival to sophisticated living. As we move forward, the umbrella’s evolution will continue to reflect our changing needs and values.

500 Words Essay on Umbrella

The umbrella, a common yet remarkable tool, is a symbol of protection and comfort against the natural elements. Its basic design, a canopy mounted on a central rod, has been optimized over centuries to provide shelter from rain, sun, and even wind. This essay will delve into the history, design, symbolism, and technological advancements of the umbrella.

The umbrella’s origins can be traced back to ancient civilizations, including Egypt, Greece, and China, where it was used primarily as a sunshade. In the Middle Ages, the umbrella’s use shifted towards protection against rain, especially in Northern Europe. Its transformation from a practical tool to a fashion accessory occurred during the 18th century, reflecting societal changes and the rise of consumer culture.

Design and Functionality

The umbrella’s design is a testament to the power of simplicity. Its canopy, usually made of waterproof material, is spread out by a series of ribs and stretchers attached to a central rod. The user can open or close the umbrella with a simple mechanism, making it a highly portable and convenient tool. The design has been refined over time, with the advent of compact, lightweight, and wind-resistant models.

Beyond its practical use, the umbrella has been imbued with symbolic meanings. In many cultures, it represents protection and authority. In Buddhism, it symbolizes the protective power of the dharma, while in Western cultures, it’s often associated with solidarity and support, as seen in the Umbrella Movement in Hong Kong.

Technological Advancements

In the age of technology, the umbrella has not been left behind. Innovations include smart umbrellas equipped with weather sensors that alert the user when rain is imminent. Some models are designed with solar panels to charge electronic devices, while others have built-in GPS to prevent loss. These advancements reflect our changing needs and the potential for everyday objects to become smart and connected.

The umbrella, while seemingly mundane, is a fascinating object of study. Its history mirrors societal changes, its design exemplifies functional simplicity, and its symbolism reflects cultural values. As technology continues to evolve, the umbrella will likely adapt, serving not only as a shield against the elements but also as an intelligent companion in our daily lives. The umbrella, therefore, is more than a mere tool; it is a testament to human ingenuity and adaptability.

That’s it! I hope the essay helped you.

If you’re looking for more, here are essays on other interesting topics:

• Essay on Twitter
• Essay on Turtle
• Essay on My First Travel Experience

Apart from these, you can look at all the essays by clicking here .

Happy studying!

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When an Umbrella is More Than Just an Umbrella

The potent symbolism of brollies, from mary poppins to harry potter.

One of the endearing features of Charles Dickens’s “umbrella work” is the number of uses to which he put his brollies.

They are rarely merely umbrellas but the signifiers of something else, whether through similarity, metaphor or context. In addition to a vast array of sexual clues and cues, John Bowen has found Dickensian brollies masquerading as “weapons and shields . . . birds, cabbages and leaves.” And whether they’re in the right place or the wrong place (like the umbrella in Quilp’s eulogy), there is some intangible but undeniable facet of umbrellaness that has captured the human imagination for centuries. Perhaps it is the awkward elegance of them—these beautiful objects that are useful for so little else, that break so pathetically, that are cumbersome and accident-prone whether discarded, spread or folded. Perhaps it is their potential to arrest us, visually. Even in 1855, when the colors available for umbrella canopies were fewer and less varied than ours today, William Sangster wrote joyfully of the wide, uncovered market-place of some quaint old German town during a heavy shower, when every industrial covers himself or herself with the aegis of a portable tent, and a bright array of brass ferrules and canopies of all conceivable hues . . . flash on the spectator’s vision.

In 100 Essays I Don’t Have Time to Write (2014), American playwright Sarah Ruhl explores the use of umbrellas on stage and the visual satisfaction they afford the audience. She believes it is the umbrella’s metaphorical power that gives it a unique ability to bestow verisimilitude on the fictive universe of the set:

The illusion of being outside and being under the eternal sky is created by the real object. A metaphor of limitlessness is created by the very real limit of an actual umbrella indoors . . . The umbrella is real on stage, and the rain is a fiction . . . A real thing . . . creates a world of illusory things.

As with theatre, so too with cinema. Movies are riddled with umbrella shots crafted by cinematographers unable to resist their appeal. The Umbrellas of Cherbourg (1964) opens with an extended bird’s-eye view of rain spattering a pavement, umbrellas passing to and fro. An iconic shot from Singin’ in the Rain (1952) shows Gene Kelly swinging from a lamppost, the folded brolly in his hand joyfully disregarded. Audrey Hepburn holds a gorgeous parasol aloft at the races in My Fair Lady (1964). And so on. Even just limiting myself to the films I watched the week I drafted this, two brollies leap to mind: a stunning moment in Takeshi Kitano’s film Zatoichi (2003) where an overhead shot of a rain-splattered roof edge gives way to the flowering of a battered red rice paper umbrella from below; or in Alfonso Cuarón’s Harry Potter and the Prisoner of Azkaban (2004), where, before a particularly stormy quidditch match, an umbrella tumbles high through the air like a clumsy leaf.  

Maybe it is the sheer irreplaceability of the umbrella that appeals. For all our leaps in technological development over the past few decades, for all our smart fridges and driverless cars and washing machines that reorder detergent online for us before we run out, there is no virtual substitute for the brolly. As Charlie Connelly says, “You can’t download an app to replace the umbrella.” Just as the new-fangled brollies of the industrial age were an anachronism in Sangster’s “quaint old German town,” so too are today’s umbrellas, for the opposite reason: for all the fabrics and technologies available to us now, the basic appearance, function and design of the umbrella has changed very little in the past 150 years. And until their design is revolutionized, or some manner of keeping the rain off us without a portable roof is conceived of and mass-marketed, that doesn’t look likely to change any time soon.

Whatever the reason for their enduring appeal, the imaginative possibilities of the brolly are not limited to art, theatre and the cinema: writers, too, have made full use of its shape and form throughout history. This chapter will be devoted to those instances of umbrellaness that transcend the umbrella’s everyday form and function: from boats to flying machines; from clubs to swords; from umbrellas that become human (almost) to humans who (almost) become umbrella.

In his essay “Umbrellas,” Dickens asks,

Would M. Garnerin have astonished the denizens of St. Pancras, by alighting among them in a parachute liberated from a balloon, half a century ago?—would he have had many imitators, successful and unsuccessful, at all sorts of Eagles and Rosemary Branches and Hippodromes?— and, lastly, would Madame Poitevin, the only real, genuine Europa of modern times, have dropped down from the clouds on an evening visit to Clapham Common?—would all these events have occurred if umbrellas had never been invented?

The answer is, very likely, no. Today’s parachutes are almost unrecognizable as umbrella-children, but in fact it was the sheer unmanageability of the umbrella in windy conditions that caught the imaginations of late-eighteenth-century aeronauts, and the object played a vital role in the development of the parachute. When William Sangster was writing Umbrellas and Their History , the design of the parachute commonly in use at the time was “nothing more or less than a huge Umbrella.”

That’s not to say that European brolly aficionados were the first to think of it; just as the Continent lagged sorely behind the rest of the world on umbrella uptake, so they did on the parachute. The Chinese Shih Chi , completed in 90 B.C.E., tells the story of Ku-Sou, who is trying to kill his son, Emperor Shun. Ku-Sou lures his son to a tower, then sets it alight; Shun escapes by tying several conical umbrella-hats together and leaping to safety. A late-17th-century Siamese monk amused the royal court by jumping from great heights with two umbrellas fixed to his belt. Word of this reached Joseph-Michel Montgolfier, who in 1779 pushed a sheep in a basket from a high tower. The sheep floated to the ground unharmed with the aid of a seven and a half foot parasol Montgolfier had fastened to the basket. In 1838 John Hampton went even further and constructed a parachute shaped like an umbrella 15 feet in diameter. He took it up to 9,000 feet and cut it—along with himself—loose. He landed safely after a 13-minute descent.

A more complete—and occasionally gruesome—record of parachute developments to 1855 may be found in William Sangster’s book, of which an entire chapter is devoted to the aeronautic advances inspired by umbrellas. I, however, will move on, pausing only to note the sweet serendipity of the relationship between the two— for, as Cynthia Barnett reminds us, that which umbrellas protect us from also takes parachute form:

We imagine that a raindrop falls in the same shape as a drop of water hanging from the faucet, with a pointed top and a fat, rounded bottom. That picture is upside down. In fact, raindrops fall from the clouds in the shape of tiny parachutes, their tops rounded because of air pressure from below.

It is a logical imaginative step from umbrellas-as-parachutes to umbrellas-as-flying-machines—a step most famously made by P. L. Travers in Mary Poppins . The 1964 movie may have featured Julie Andrews drifting down Cherry Tree Lane in its opening scenes, but the Banks children must wait until the very end of the first book before they witness the hidden powers of Poppins’s parrot-headed brolly—and a sad scene it is:

Down below, just outside the front door, stood Mary Poppins, dressed in her coat and hat, with her carpet bag in one hand and her umbrella in the other . . . She paused for a moment on the step and glanced back towards the front door. Then with a quick movement she opened the umbrella, though it was not raining, and thrust it over her head.

The wind, with a wild cry, slipped under the umbrella, pressing it upwards as though trying to force it out of Mary Poppins’ hand. But she held on tightly, and that, apparently, was what the wind wanted her to do, for presently it lifted the umbrella higher into the air and Mary Poppins from the ground. It carried her lightly so that her toes just grazed along the garden path. Then it lifted her over the front gate and swept her upwards towards the branches of the cherry trees in the Lane.

“She’s going, Jane, she’s going!” cried Michael, weeping . . .

Mary Poppins was in the upper air now, floating away over the cherry trees and the roofs of the houses, holding tightly to the umbrella with one hand and to the carpet bag with the other . . .

With their free hands Jane and Michael opened the window and made one last effort to stay Mary Poppins’ flight.

“Mary Poppins!” they cried. “Mary Poppins, come back!”

But she either did not hear or deliberately took no notice. For she went sailing on and on, up into the cloudy, whistling air, till at last she was wafted away over the hill and the children could see nothing but the trees bending and moaning under the wild west wind.

While umbrellas were suggesting parachutes to aeronauts, they were suggesting sails to mariners. An umbrella was incorporated into the prototype for the inflatable rubber life raft in 1844—along with a paddle, it was intended for propulsion and steering. In 1896 the “umbrella rig” was developed for use on sailing boats:

[T]he sail when spread had precisely the appearance of a large open umbrella, the mast of the boat forming the stick. Twice as much canvas could thus be carried as by any other form of rig, and the sail had no tendency to heel the boat over.

Evidently sail-making technology superseded the umbrella-form, for the umbrella rig has quietly disappeared into the annals of sailing history—although it is tempting to wonder if it wasn’t a predecessor to the modern-day spinnaker.

On the subject of mariners, it takes only the smallest step of the imagination to flip the brolly upside down and turn its surface area and water-resistant qualities to advantage in repelling water from below, rather than above. A small step for man, perhaps—but a giant leap for a Bear of Very Little Brain. In the story “In which Piglet is Entirely Surrounded by Water,” Winnie-the-Pooh and Christopher Robin receive a message in a bottle from Piglet, who is trapped in his house by rising floodwaters. They need a boat to rescue him, but Christopher Robin does not own a boat:

And then this Bear, Pooh Bear, Winnie-the-Pooh, F.O.P. (Friend of Piglet’s), R.C. (Rabbit’s Companion), P.D. (Pole Discoverer), E.C. and T.F. (Eeyore’s Comforter and Tail-finder) —in fact, Pooh himself—said something so clever that Christopher Robin could only look at him with mouth open and eyes staring, wondering if this was really the Bear of Very Little Brain whom he had known and loved so long.

“We might go in your umbrella,” said Pooh.

“We might go in your umbrella,” said Pooh. “??”

For suddenly Christopher Robin saw that they might. He opened his umbrella and put it point downwards in the water. It floated but wobbled. Pooh got in . . . “I shall call this boat The Brain of Pooh,” said Christopher Robin, and The Brain of Pooh set sail forthwith in a south-westerly direction, revolving gracefully.

These curious craft are not limited to children’s storybooks: In The Sunshade, the Glove, the Muff (1883), Octave Uzanne comments on sketches that may be found in albums of Japanese art, depicting some human being excited to a singular degree, with hair tossed by the wind, and haggard eye, floating at the will of the tumultuous waves on a Parasol turned upside down, to the handle of which he clings with the energy of despair.

Umbrellas also have a long (and violent) history of being used as weapons. One early adaptation was the umbrella sword stick—a brolly with a slim sword concealed in its post. Although illegal today, they were once enough in demand to appear on James Smith & Sons’s stained-glass windows—where they remain to this day.

Perhaps the most famous umbrella-related murder occurred, appropriately enough, in London. In 1978, Georgi Markov, a dissident writer from Bulgaria, was waiting for a bus by Waterloo Bridge when he felt a sharp pain in his leg. He looked behind him to see a man with an umbrella get into a car and drive away.

Within days Markov was dead, killed by a minute pellet of ricin injected into his leg by—detectives surmised—the tip of a modified umbrella. Although no arrests were made over his murder, it was thought to have been committed in connection with the Bulgarian secret police. Charlie Connelly notes that when the Bulgarian government fell in 1989, “a stock of umbrellas modified to fire tiny darts and pellets was found in the interior ministry building.”

Anyone more than passingly acquainted with DC’s Batman comics will be familiar with The Penguin, or Oswald Chesterfield Cobblepot, one of Batman’s long-term nemeses and wielder of an extravagant array of weaponized umbrellas—amongst them, the Bulgarian design used to murder Markov. The Penguin’s umbrellas include a vast range of modifications, limited only by the writer’s imagination: knives, swords, guns and poison gas all make regular appearances.

One completely novel approach to umbrellas as weapons is that taken by Rubeus Hagrid, whose umbrella is far more than it initially seems. Let’s return to that memorable scene on Mr Potter’s 11th birthday, when Hagrid tells Harry he’s a wizard and has been invited to study magic at Hogwarts School of Witchcraft and Wizardry. Uncle Vernon roundly insults not just Harry and his parents, but the headmaster of Hogwarts as well—an insult Hagrid does not take lightly:

He brought the umbrella swishing down through the air to point at Dudley—there was a flash of violet light, a sound like a firecracker, a sharp squeal and next second, Dudley was dancing on the spot with his hands clasped over his fat bottom, howling in pain. When he turned his back on them, Harry saw a curly pig’s tail poking through a hole in his trousers . . .

A magic umbrella? Not quite. The true state of affairs is revealed the next day when Hagrid takes Harry shopping for a wand at Ollivander’s:

“But I suppose they snapped [your wand] in half when you got expelled?” said Mr Ollivander, suddenly stern.

“Er—yes, they did, yes,” said Hagrid, shuffling his feet. “I’ve still got the pieces, though,” he added brightly.

“But you don’t use them?” said Mr Ollivander sharply.

“Oh, no, sir,” said Hagrid quickly. Harry noticed he gripped his pink umbrella very tightly as he spoke.

However, umbrellas can inflict quite enough damage without the aid of concealed swords, poison-pellet mechanisms or magic wands. A somewhat less infamous umbrella murder occurred in 1814, in what came to be known as the “Battle of the Umbrellas” in Milan. As Nigel Rogers reports in The Umbrella Unfurled (2013), following the collapse of Napoleon’s empire, Giuseppe Prina, a finance minister who had imposed severe taxes on the populace to meet the emperor’s demands, was dragged out of the Senate by an angry mob and clubbed to death with umbrellas.

Unfortunately for Prina it was probably not the swiftest of deaths, and it was undoubtedly painful—but still not as grotesque as this Yiddish curse of uncertain provenance, which contains the most visceral umbrella violence you’re ever likely to encounter: “May a strange death take him! May he swallow an umbrella and it should open in his belly!”

As a weapon of modern warfare this implement has not been given a fair place. It has, indeed, too often been spoken of with contempt and disdain, but there is no doubt that, even in the hands of a strong and angry old woman, a gamp of solid proportions may be the cause of much damage to the adversary.

The authors advise deploying the umbrella in two ways—as a fencing foil (light, parrying stabs with one hand), and a bayonet (firmly grasped and thrusted with two hands).

The mad woman in Elizabeth Is Missing seems rather to have gone for the “club” approach in this scene, when she chases a young Maud down the street:

. . . was holding the groceries against my chest, waiting for a tram to pass, when suddenly there was a great bang! on my shoulder. My heart jumped and my breath whistled in my throat. The end of the tram was trundling away at last, when bang! she hit me again. I leapt across the road. She followed. I ran up my street, dropping the tin of peaches in panic, and she chased me, shouting something I couldn’t catch . . . There was a bruise on my shoulder for weeks after that, dark against my pale skin. It was the same colour as the mad woman’s umbrella, as if it had left a piece of itself on me, a feather from a broken wing.

Just as Derrida has described the umbrella as both feminine and phallic, so too does it function as both weapon and defense. An open umbrella can act as a shield against not only rain and sun, but also bullets and other projectiles. At least two notable leaders have employed fortified umbrellas in their defense: Queen Victoria, who had a number of parasols lined with chain mail following an assassination attempt, and French president Nicolas Sarkozy, who in 2011 had a £10,000 Kevlar-coated umbrella made for his bodyguards in case of their needing to shield him. Apparently this umbrella was so strong that his bodyguards were able to smash tables with it.

Rather more outlandish is this anecdote from colonial India, related by William Sangster, in which an umbrella is put to an entirely novel defensive use:

The members of a comfortable picnic party were cosily assembled in some part of India, when an unbidden and most unwelcome guest made his appearance, in the shape of a huge Bengal tiger. Most persons would, naturally, have sought safety in flight, and not stayed to hob- and-nob with this denizen of the jungle; not so, however, thought a lady of the party, who, inspired by her innate courage, or the fear of losing her dinner—perhaps by both combined seized her Umbrella, and opened it suddenly in the face of the tiger as he stood wistfully gazing upon brown curry and foaming Allsop. The astonished brute turned tail and fled, and the lady saved her dinner.

And her life, presumably.

One umbrella, deployed in the fateful seconds before U.S. president John F. Kennedy was fatally shot on November 22, 1963, continues to intrigue conspiracy theorists to this day. Louie Steven Witt, dubbed the “Umbrella Man,” was captured on film holding an umbrella aloft moments before shots were fired at the president’s car. Josiah “Tink” Thompson—one of the first to spot the Umbrella Man in footage—included Witt and his umbrella in his 1967 book Six Seconds in Dallas: A Micro-Study of the Kennedy Assassination . Given that the shooting occurred on a bright, sunny day, and no one but Witt was carrying rain gear of any kind, sinister theories proliferated. One suggested that the umbrella was itself a weapon used to fire a disabling dart into Kennedy’s throat. Another held that the raising and lowering of Witt’s umbrella functioned as a signal to the shooter(s).

John Updike, reflecting on Thompson’s book in a December 1967 issue of The New Yorker , wrote:

[The Umbrella Man] dangles around history’s neck like a fetish . . . We wonder whether a genuine mystery is being concealed here or whether any similar scrutiny of a minute section of time and space would yield similar strangenesses—gaps, inconsistencies, warps, and bubbles in the surface of circumstance.

Despite the microanalytic nature of his own book, Thompson himself appears to agree with Updike: in Errol Morris’s 2011 short film Who Was the Umbrella Man? Thompson states that he accepts Witt’s own explanation, which he gave before the House Select Committee on Assassinations in 1978. Witt claimed that his black umbrella was raised as a protest, not at John F. Kennedy himself but his father, Joseph P. Kennedy, who in his role as U.S. ambassador to the United Kingdom had supported Neville Chamberlain in his much-hated policies of appeasement towards Nazi Germany. Thompson says, “I read that and I thought, ‘This is just whacky enough it has to be true!’”

The iconicity of Chamberlain’s umbrella had no doubt faded somewhat by 1963—but from a purely brolliological perspective Witt’s explanation certainly checks out. However, hundreds of commenters on the video’s YouTube page beg to differ, and over 50 years later, Witt’s umbrella remains an object of speculation and intrigue.

On a lighter note, umbrellas also make rather handy hiding places—and not just for one’s own self. In Hergé’s Tintin book The Calculus Affair (1960), the absentminded professor Cuthbert Calculus develops a glass-shattering sonic invention that he fears could be turned into a weapon. Seeking advice, he heads for Switzerland to consult with a colleague but is abducted on the way. Tintin and Captain Haddock begin pursuit. On their hunt, they come across the professor’s signature umbrella, which Tintin’s dog, Snowy, takes responsibility for, carrying it around in his mouth. When they finally intercept Calculus the first thing he asks after is “My umbrella! My umbrella!”—before he is re-abducted and whisked away.

They lose his umbrella before rescuing him a final time, and there is a high-speed pursuit involving tanks and gunfire. Totally oblivious to Death flying about their ears, Calculus asks, “My umbrella! Have you got my umbrella?”—To which Captain Haddock expostulates, “Blistering barnacles, your umbrella! This is a fine time to worry about an umbrella!” However, the object is eventually recovered, prompting what is perhaps the most blissful human-umbrella reunion scene in literary history; Calculus clasps the object to his chest, crying, “My umbrella! My own little umbrella! At last I’ve found you!” All is explained when Calculus reveals that he had hidden the plans for his inventions inside the hollow handle of his brolly.

Hagrid’s wand and The Penguin (and possibly the Umbrella Man) aside, these are all fairly quotidian examples of brollies transcending their usual designated functions. Far more boundary-crossing are the imaginative uses to which they have been put by writers—or hallucinogens. In The Prime of Life (1960), the second volume of her memoirs, Simone de Beauvoir relates Jean-Paul Sartre’s first experiment with mescaline—an experience that, oddly enough, includes an umbrella or two:

Late that afternoon, as we had arranged, I telephoned Sainte-Anne’s, to hear Sartre telling me, in a thick, blurred voice, that my phone call had rescued him from a battle with several devil-fish, which he would almost certainly have lost . . . He had not exactly had hallucinations, but the objects he looked at changed their appearance in the most horrifying manner: umbrellas had become vultures, shoes turned into skeletons, and faces acquired monstrous characteristics, while behind him, just past the corner of his eye, swarmed crabs and polyps and grimacing Things.

Other monstrous associations crop up in Sarah Perry’s The Essex Serpent : firstly, when a young girl has a vision of the titular serpent as “a coiled snake unfolding wings like umbrellas,” and later when a very large and very dead sea creature washes up on the shore:

All along the spine the remnants of a single fin remained: protrusions rather like the spokes of an umbrella between which fragments of membrane, drying out in the easterly breeze, broke and scattered.

One extraordinarily transformative brolly may be found in G. H. Rodwell’s Memoirs of an Umbrella . As mentioned earlier, this umbrella so transcends its object status that it has become sentient and narrates a storyline of typically Victorian complexity from its (or rather, his: the umbrella is unambiguously gendered) vantage point as he is lost, loaned and forgotten, passed from character to character, “taken up here, or put down there, or dropped from a coach-box, or hung upon a peg.” As the umbrella himself points out, what better perspective could be gained but that of an umbrella?

Whether it be spread out cold, wet and weeping in the servants’ hall, or, dry and snug in the butler’s room; whether it be enviously watching over the heads of two happy lovers; or stuck almost upright, beneath the arm of the Honourable E. B—: still they are all situations for observing human nature.

It is a perspective that does not come cheap, according to this umbrella:

Talk of slavery! what can be more perfect than that of an Umbrella! At one moment our tyrant masters will raise us up to the skies; at the next, lower, nay, thrust us into the very mire! It is true we have . . . our moments of sunshine, but they are “few, and far-between”: perhaps, the fewer the better for our well-being, for bad weather suits us best. And that, which generally makes others low, causes the umbrella to be elevated.

We learn that, while entirely dependent on humans for carriage from place to place, this umbrella has emotions and hopes and desires of his own. He is frequently irritated by being removed from all the action—“I have generally been annoyed by being carried away exactly at the very moment I had wished to stay”—and at one point he wonders, “If a poor umbrella could feel this, what ought not real flesh and blood to have felt?” Although he cannot physically move, his emotional peaks come tantalizingly close, with descriptions like, “my very silk began to tremble” and, “the name vibrated through my whalebones.” Above all—for all the talk of slavery—he delights in being useful:

We had scarcely reached the New Road when it began to rain, not much, certainly, but enough to raise me considerably in my own estimation . . . The rain ceasing as suddenly as it had commenced, I was lowered, and felt myself no longer of any consequence.

The central conceit of Memoirs of an Umbrella is ridiculous by most standards, and it is a tribute to the author that the final work is sufficiently compelling to draw a reader—well, this reader, at any rate—through to the final pages. That said, sentience in brollies is not limited to out-of-print 19th-century fiction, or kasaobake. The Japanese poet Yosa Buson penned a haiku in which the sentience of two inanimate objects forms the final, delightful twist:

The spring rain— telling stories to each other they pass by: raincoat and umbrella.

English Poet Denise Riley, in her poem “Krasnoye Selo,” refers to umbrellas and their “carriers” going about their daily duties—a breathtaking reversal in which it is the umbrella that takes centre stage, the umbrella that possesses volition. The individuals beneath them factor in only as brolly-bearers, as enablers—not unlike the Greek and Egyptian slaves charged with holding umbrellas over the heads of their rulers.

Perhaps the most fascinating transcendence of all is that between human and brolly—one of which Will Self is a master. It is Audrey—symbolic throughout this book of the anxieties connected with the mechanical age—who undergoes this extraordinary transformation, not once but twice. The first time occurs just before her encephalitis permanently relapses, when, caught in a sudden gust of wind, Audrey’s arms:

fly up and away, struts jerkily unfolding from ribs, then bending back on themselves, so that the riveted pivots bend and pop . . . her stockings are half unrolled on her stiff posts, her handles in their worn leather boots rattle across a cellar grating . . .

Her temporary identification with the umbrella is prophetic, for Audrey will soon, like a broken brolly, be abandoned and all but forgotten as she succumbs to an illness no one can understand or treat, and is shut up in a psychiatric hospital for the rest of her life.

Will Self does not quite have a monopoly on human-umbrella confusions, however: the character of Miss Hare, in Patrick White’s 1961 novel Riders in the Chariot , undergoes a comparable, although much subtler, transformation of her own. Miss Hare, one of the four “visionaries” of the novel, is herself a creature of margins and transient boundaries: this passing comparison—introduced very early in the novel—is a most fitting introduction to the transcendent nature of her character:

Miss Hare continued to walk away from the post office, through a smell of moist nettles, under the pale disc of the sun. An early pearliness of light, a lambs’-wool of morning promised the millennium, yet, between the road and the shed in which the Godbolds lived, the burnt-out blackberry bushes, lolling and waiting in rusty coils, suggested that the enemy might not have withdrawn. As Miss Hare passed, several barbs of several strands attached themselves to the folds of her skirt, pulling on it, tight, tight, tighter, until she was all spread out behind, part woman, part umbrella.

__________________________________

From  Brolliology: A History of the Umbrella in Life and Literature .  Used with permission of Melville House. Copyright © 2017 by Marion Rankine.

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Using Power Writing to Write a Five-Paragraph Essay

• Categories : Help with writing assignments paragraphs, essays, outlines & more
• Tags : Homework help & study guides

The Power Umbrella

Once you have picked a narrow topic for your five-paragraph essay such as “my favorite summer activities” or “three places to visit in

St. Louis, MO,” you are ready to fill out the power-writing umbrella. The umbrella is a visual cue to help you remember that all your sentences and paragraphs should fit under the topic that you have written on your umbrella.

Draw a large umbrella on your paper. (You do not have to use an umbrella for power writing. You can just write your power outline like a regular outline if you wish).

In the top part of the umbrella, write a number 1. This is where you will write your Power 1 sentence or main idea of your five paragraph essay, such as “My Favorite Summer Activities.”

Underneath the umbrella, write a 2. Then skip a few lines and write another 2. Repeat this process until you have three 2s. These are Power 2s, which are the topics for each of your body paragraphs.

Underneath the 2s, write a 3 on each line. The Power 3s will be your details. So, the power writing outline will look something like this (except you may have drawn an umbrella to go with it) for your five paragraph essay:

1. Opening: My Favorite Summer Activities

2. Swimming at my grandma’s pool

3. My cousins are there

3. She has cool rafts and water volleyball

2. Playing on my baseball team

3. I play first base.

3. My favorite part is batting.

3. My best friend is on my team

2. Going to Six Flags

3. I love the roller coasters

3. I like to get an ice cream in a waffle cone

3. I like to see Bugs Bunny

1. Closing: Other summer activities I like, but these three are my favorites

A five-paragraph essay on “My Favorite Summer Activities” will be easy to write once you have a power-writing outline.

Power Zeros

Some critics of power writing complain that you have no voice when you are writing five-paragraph essays. Power zeros put the voice into the paper. For example, if you are writing about your favorite summer activities, and one thing you like to do is eat ice cream, you might put a power zero sentence such as: “I really can’t pick which of the thirty-one flavors is best because they all make my stomach so happy.” Power zero sentences are often used at the beginning of the introductory paragraph. In this case, it may be a fun fact or a question such as: “There are only 84 days of summer before I start fourth grade. I need to start having fun now!”

From Outline to Essay

Once you have your power-writing umbrella outline and you are ready to begin writing your five-paragraph essay, start with the introductory paragraph. You will use the power one sentence that you wrote on your writing graphic organzer (the umbrella) and include other information to introduce the topic and let the reader know what to expect from your essay.

The body paragraphs come next. It is important to include as much detailed information as you can about your topic in each of the body paragraphs. You are not only writing down your power twos and threes in paragraph form. You need to add transition words and sentences, so that the essay flows and has voice. Here is a sample paragraph about playing baseball from the power-writing umbrella.

• Playing baseball is one of the best ways to spend a summer night. My team, the Enforcers, plays every Tuesday night, and we usually win. My position is first base, and I am very busy since we are always trying to get the batter out when he hits a ground ball. My best friend, Sam, is also on my team, and he plays third base. He is really good at throwing me the ball when we are trying to get someone out. We make a great team! Even though playing first base is fun, my favorite part of a baseball game is when I get to bat. I love to hit the ball and run around the bases!

Finally, you use your power-writing graphic organizer for writing the conclusion paragraph of your five paragraph essay. The conclusion paragraph’s main job is to wrap up the paper and maybe give an opinion based on the information in the essay. For example, with the summer activity topic, a concluding paragraph might recap the three favorite activities and then also discuss something else the writer might like to try this summer or something he is looking forward to, like a vacation.

• The Writing Site: http://www.thewritingsite.org/

This post is part of the series: Writing Tips for a Five Paragraph Essay

This series focuses on how to write a five paragraph essay. The tips will help you write a five paragraph essay. Sometimes, the hardest parts are the introdcutory and concluding paragraphs.

• How to Write a Five-Paragraph Essay With Power Writing
• Writing the Introductory Paragraph of the Five Paragraph Essay
• Writing the Conclusion Paragraph of the Five Paragraph Essay

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10 Lines on Umbrella in English for Kids

• Umbrella is made to protect a people from rain.
• Umbrella is also made to protect a people from sunrays.
• Umbrella is made up of a stick of metal or wood and a peace of fabric.
• Umbrella is a portable device.
• Umbrella is a self held device.
• Modern umbrella are so small that they can even fit in handbag.
• We can share Umbrella with our friend also.
• We can carry Umbrella anywhere.
• Umbrella can protect us from snowfall.
• When the Umbrella is wet, we can easily dry it.

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Our directory of free college paper samples showcases the most bright instances of top-notch writing on Umbrella and relevant topics. Not only can they help you develop an interesting and fresh topic, but also exhibit the effective use of the best Umbrella writing practices and content structuring techniques. Also, keep in mind that you can use them as a source of dependable sources and factual or statistical information processed by real masters of their craft with solid academic backgrounds in the Umbrella area.

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English Essay, Paragraph, Speech on “The Umbrella” for Kids, Students of Class 6, 7, 8, 9, 10 CBSE, ICSE Board Examination

The Umbrella

The word “umbrella” literally means, “Little shade”, and so the name explains what the thing is for. We use umbrellas to give us shade from the sun, or shelter from the rain.

The umbrella is a frame made of steel, fixed on a stick with a handle, and covered with cotton or silk cloth. It is so made that it can be opened and carried over the head when we want shelter from rain or sun, and closed and rolled up when not needed so that it can be carried in the hand like a stick. It is a very handy and useful thing: and most people have one. In Calcutta, almost every Bengali walks the streets with his white or black cotton umbrella to shade him from the sun; and in rainy England, most people carry umbrellas lest they should be caught in a shower.

Nowadays people keep umbrellas for use. But in old days the umbrella was a sign of rank, and so it is even now in some eastern countries. In Burma, only the king and the sacred white elephant were allowed to carry white umbrellas, while officials and lords had yellow, golden, red, green, and brown umbrellas, according to their rank. In India, the Maratha Rajas were called “lords of the umbrella”. In China, every mandarin, or government official, had the right of having a fine umbrella held over him as a sign of his rank. In Italy, the Doge, or duke, of Venice had a splendid state umbrella, which was carried over him when he went in processions. And even in ancient Assyria, thousands of years ago, the king sat on his throne under a grand umbrella with coloured tassels, held by an officer of the court. This shows that the umbrella is not a new thing, but a very old invention.

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Entertainment | NPR suspends editor who criticized his employer…

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Entertainment, entertainment | npr suspends editor who criticized his employer for what he calls an unquestioned liberal worldview.

NEW YORK — National Public Radio has suspended a veteran editor who wrote an outside essay criticizing his employer for, in his view, journalism that reflects a liberal viewpoint with little tolerance for contrary opinions.

Uri Berliner, a senior editor on NPR’s business desk, was suspended five days without pay, according to an article posted Tuesday by NPR’s media correspondent, David Folkenflik. He wrote that Berliner was told he violated the company’s policy that it must approve work done for outside news organizations.

Berliner told NPR that he was not appealing the suspension. An NPR spokeswoman said the company would not comment on individual personnel matters.

He wrote his essay last week for The Free Press. Berliner wrote that NPR has always had a liberal bent, but for most of his 25-year tenure had an open-minded, curious culture.

“In recent years, however, that has changed,” he wrote. “Today, those who listen to NPR or read its coverage online find something different: the distilled worldview of a very small segment of the U.S. population.”

His commentary became an instant hit with outside conservative activists who have made similar criticisms of NPR. He specifically criticized his employer for its coverage of former President Donald Trump, of accusations against the president’s son, Hunter Biden, and of the COVID-19 pandemic.

Following publication, NPR’s top editor, Edith Chapin, said she strongly disagrees with Berliner’s conclusions and is proud to stand behind NPR’s work.

One of his NPR colleagues,“Morning Edition” co-host Steve Inskeep, wrote on Substack Tuesday that Berliner’s essay in The Free Press was filled with errors and assumptions.

“If Uri’s ‘larger point’ is that journalists should seek wider perspectives, and not just write stories that confirm their prior opinions, his article is useful as an example of what to avoid,” Inskeep wrote.

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Michael and Gerald Shvartsman, who had originally pleaded not guilty to securities fraud charges, each pleaded guilty to one count of securities fraud.

By Matthew Goldstein

Two brothers from Miami pleaded guilty on Wednesday in federal court in Manhattan for their role in a nearly $23 million insider-trading scheme surrounding the 2021 announcement that former President Donald J. Trump’s social media company planned to merge with a cash-rich shell company.

Michael and Gerald Shvartsman, who had pleaded not guilty to securities fraud charges last summer , were set to go on trial later this month. But the brothers decided this week to forgo a trial, instead entering their guilty pleas before Judge Lewis J. Liman of U.S. District Court for the Southern District of New York.

Each man pleaded guilty to one count of securities fraud.

Michael Shvartsman, according to federal prosecutors, was the mastermind of the scheme to profit from the announcement, in October 2021, that Trump Media & Technology Group planned to merge with Digital World Acquisition Corporation, a shell company that had just raised $300 million in an initial public offering. The authorities charged Michael Shvartsman, 53, a Miami financier, with making $18.2 million in illicit trading profits; and his brother, 46, who owns an outdoor furnishing store in Miami, with raking in $4.6 million.

Michael Shvartsman, who ran a venture investment firm called Rocket One, used some of the proceeds from the scheme to buy a $14 million luxury yacht that he named Provocateur.

The brothers each face prison sentences of up to 20 years. Their plea agreements with the government recommend a sentence of roughly four to five years for Michael Shvartsman; and three to four years for Gerald Shvartsman.

Judge Liman, who is not bound by those recommendations, set sentencing for both men for July 17.

The brothers are Canadian citizens and could face deportation at the end of their sentences.

Gerald Shvartsman told Judge Liman that what he did was wrong and “I will pay dearly for it for the rest of my life.” His brother told the judge, “I understand these trades were unlawful.”

As part of their plea agreements, the brothers agreed to forfeit their trading gains.

A third man charged in the scheme, Bruce Garelick, who had worked at Rocket One, is scheduled to go to trial at the end of the month. The authorities have said that he made less than $50,000 but was critical in giving the brothers nonpublic inside information about the merger talks between Trump Media and Digital World.

Mr. Garelick, a former hedge fund manager, became a board member of Digital World before it went public but after Rocket One had become an investor. A lawyer for Mr. Garelick did not respond to a request for comment.

Trump Media, the parent company of the social media platform Truth Social, completed its merger with Digital World a little over a week ago. The deal has added billions of dollars to Mr. Trump’s net worth and boosted the market valuation of Trump Media even though it lost $58 million last year and took in just $4.1 million in advertising revenue on Truth Social.

The federal authorities investigated a handful of other people who were associated with the Shvartsmans and had made profitable trades around the time of the merger announcement, according to court filings. Among them was Anton Postolnikov, a Russian American financier who made $22.8 million in trading profits. But none of those individuals were charged with wrongdoing, or found to have any ties to anyone associated with Trump Media.

Michael Shvartsman’s plea agreement made reference to his “causing” a friend, a business associate and a neighbor to make trades in Digital World securities in advance of the merger announcement.

No one from Trump Media was charged with any wrongdoing, either. The insider-trading investigation contributed to a more than two-year delay in completing the merger. The deal was also held up by a Securities and Exchange Commission investigation into what regulators said were inappropriate merger talks between the companies. It was resolved last summer, with Digital World agreeing to pay an $18 million fine.

An earlier version of this article misstated a detail of the plea agreement. Michael Shvartsman will not necessarily have to forfeit his yacht to the government.

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Matthew Goldstein covers Wall Street and white-collar crime and housing issues. More about Matthew Goldstein