What is it like to have the coronavirus, how will it affect you and how is it treated?

Edinburgh : [publisher not identified], 1812.

New York ; London : W.W. Norton, 2008.

Title: Building Muscle Could Boost the Body's Most Important Muscle
Category: Health News
Created: 4/28/2016 12:00:00 AM
Last Editorial Review: 4/29/2016 12:00:00 AM

Shriver’s contentious views on diversity thread through the story of a couple’s strained relationship with exercise

Lionel Shriver’s scabrously funny 15th novel presents a dyspeptic view of people in thrall to exercise. In 2013 Shriver’s own daily regime involved “130 press-ups, 200 side crunches, 500 sit-ups and 3,000 star jumps … The jumps take 32½ minutes, or three every two seconds”. The Motion Of The Body Through Space was written, she recently revealed, after she realised that she may be more dedicated to her exercise than to her writing.

The protagonist, Serenata Terpsichore (“rhymes with chicory”), is a 60-year-old woman from upstate New York with a beguiling voice and ruined knees. The former she puts to lucrative use as a voiceover artist and narrator of audiobooks. The latter are the result of a lifetime’s adherence to the doctrine of working out; in particular the belief that 10-mile runs are the key to longevity and good health.

We need to talk about exercise, race and gender

While the NYT article offers an exaggerated cautionary tale, its alarm-ism can lead many to throw the beautiful practice of yoga asanas (postures) out with the bathwater.

“Excuse me,” I said to the lithe twenty-something after she uncoiled out of her improbable yoga pose.  “Yes?” the girl said, her creep detection radar blasting enough wattage to boil my blood away.  “Are you using this box for your workout?”  “Oh, no I’m not. Sorry.” After removing her keys, phone, earbuds, towel, water bottle, and […]

The post The Body Electric appeared first on Waiter Rant.

It feels admittedly asynchronous. On one hand, I’m increasingly immersed in research around the silencing of female subjectivity by relegating it within the domain of the exclusively non-public, while on the other, I am personally deriving immense pleasure through my voluntary retreat further and further into the inner realms of domesticity.

I find I am consciously withdrawing from being public, whether out of a sense of responsibility, by staying home in a bid to minimise the country’s COVID-19 fatalities, or voluntarily, by limiting my social-media engagement. If anything, it is this practice of restraint, this movement away from what my body has begun to interpret as cacophony that I hold responsible for my increased productivity.

And I mean here to challenge this very Capitalist word. I don’t mean for productivity to signify output. I don’t mean for it to be quantifiable in any way. I want to address it as a sweaty qualitative notion. I want to centre my absorption of it at the level of the physical and the psychological. Later, in retrospect, I want to synthesise my experience of this ‘Lockdown’ as a fine-tuning of my very corporeal encounter with muscular memory.

This morning I was surprised by my body’s sudden fluency with raising itself upwards. When the curfew was first announced and our access to public spaces began to be curtailed, I asked my partner to help me evolve an exercise routine, so that I could find an alternative source for the endorphin high I had begun to enjoy after two weeks of playing badminton in the park.

When he first demonstrated to me some of the moves that were part of his work-out, I tried to mimic his gestures. Perhaps because I had been slaying him at badminton, he had no conception of my body’s inability to perform movements that he had internalised as fundamental. I remember breaking down when he was instructing me on how to, while lying down, bring both legs together and heaving them up into the air by enlisting the back to aid the lift-off.

I’m not exaggerating. I collapsed into a hot, wet mass of tears. I felt defeated by my body. I felt angry that I was not allowed to continue to excel at badminton, a game I love not just because I played it through childhood and adolescence and am good at, but because it really tricks my body into exercise by nurturing my competitiveness.

I had told my partner then that he would have to be really slow, superbly gentle, and would have to cajole me into this daily practice. Being the fantastic listener that he is, he agreed to my conditions.

Organically, my partner began waking up by 7 am. I’m lazy. I wait for the scent of brewing coffee to invade the bedroom and for him to bring my cup to my bedside. Eventually, when I feel ready enough to get out of bed, I do, and change into basic clothes, a sports bra and hot pants, and show up in the living room.

I let myself be trained by him, and about 20-25 minutes later, I pick up my hoop and either freestyle or learn new moves on YouTube. After breakfast, we often sit to learn German, and once again he becomes my instructor. Post lunch, I have begun spending more time at my writing desk. Every two days, I bake something as a form of currency to show my appreciation for his time. I post pictures on Instagram when I feel compelled to say something, and don’t spend more than 30 minutes on Facebook or Whatsapp.

This is how we have been living the hours. Every day I can do a little more than I could the day before. The nature of my advancements is diverse. I can speak German with a little more fluency. I grow more confident with the same recipe than a week before. Something clicks and I suddenly figure out how to make the best bhurji, or how to perfect my lemon cake.

I’ve reduced everything to this elemental logic — muscle memory, and my instances of joy derive increasingly from the recognition of momentary synthesis between body and mind, so that my subjectivity is not only shaped cerebrally, but through the embrace of the pulpiness of emotion and the expenditure of sweat and muscle soreness. Today I did ten roll-ups effortlessly. It was a small achievement.

As adults, we forget how the single gesture we’ve internalised is, in fact, comprised of several units of small movements that are only learned in time. It’s like not just holding a pencil, but also writing with it. It’s super basic, but if you’re a three-year-old, it’s one of the biggest challenges you’ve had to face.

I’m having so much fun playing outside my comfort zone, going out on a limb, so to speak, being child-like by learning how to acquire new movements and thus expand the range of my vocabulary. I want this muscle memory to feed my post-curfew life.

Deliberating on the life and times of Everywoman, Rosalyn D’Mello is a reputable art critic and the author of A Handbook For My Lover. She tweets @RosaParx
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One of the biggest surprise hits of 2019 was the suspense thriller BADLA, starring Amitabh Bachchan and Taapsee Pannu. It was a remake of the 2017 Spanish film THE INVISIBLE GUEST, directed by Oriol Paulo. Now another film of this master director, THE BODY, has been remade and also carries the same title. So does the Hindi remake of THE BODY manage to grip and shock viewers, just like the original version? Or does it fail to engage? Let’s analyse. <img class="aligncenter wp-image-1051941 size-full" title="Movie Review: The Body" src="https://www.bollywoodhungama.com/wp-content/uploads/2019/12/Movie-Review-The-Body.jpg" alt="Movie Review: The Body" width="720" height="450" /> THE BODY is the story of a corpse that vanishes from a morgue under mysterious circumstances. Ajay Puri (Emraan Hashmi) is married to a rich businesswoman Maya Verma (Sobhita Dhulipalia) and both reside in Port Louis, Mauritius. Ajay has married Maya for her wealth. Moreover he is fed up of the way she ill treats him. Ajay runs her pharmaceutical business and is also a guest professor. During one of the lectures, he gets introduced to a student, Ritu (Vedhika Kumar). Soon they start a romantic relationship. Ajay is aware that if he asks for a divorce from Maya, he’ll be stripped of all wealth. Hence he decides to murder her and devises a great plan. Maya gets anxious while taking flights. The day she is going to be back from a long flight from Los Angeles, Ajay pours small amount of poison in her wine. It produces same kind of symptoms that one gets while suffering a heart attack. The doctors would hence conclude that she suffered the attack due to her anxiety over taking the flight. As per the plan, Maya consumes the poisoned wine and in the evening, she dies. Her body is taken to the morgue for autopsy. Trouble arises when the body disappears from the morgue. The caretaker, Tara Singh, claims that he saw dead Maya herself walking out! SP Jairaj Rawal (Rishi Kapoor) is brought to investigate the case. Jairaj himself is not able to recover from a personal tragedy. What happens next forms the rest of the film. Oriol Paulo's original story has loose ends but could have made for a great suspense thriller. The adapted screenplay is faulty and very weak. The film needed some really nail biting scenes. Instead the writer added clichéd and run of the mill scenes which hamper the impact. Dialogues are also nothing exciting. Jeethu Joseph's direction is quite disappointing. It is shocking that the director who made the original version of DRISHYAM has made this flick. The execution seems amateur and fails to really captivate the audiences. Despite the 103 minutes run-time, the film is riddled with 4 songs further adding to the disappointment. Also the shocking climax instead of impressing viewers will leave them bewildered as the whole idea of the body disappearing from the morgue seems too farfetched and unnecessary for what was the intention. <span style="text-decoration: underline;"><strong>"Akshay Kumar sir is FABULOUS with…": Vedhika on Laxmmi Bomb &amp; Kanchana | Emraan Hashmi | The Body</strong></span> <iframe id="jwiframe" class="playerFrame" src="https://www.bollywoodhungama.com/videos/celeb-interviews/akshay-kumar-sir-is-fabulous-with-vedhika-on-laxmmi-bomb-kanchana-emraan-hashmi-the-body/?jwembed=1" width="800" height="340" frameborder="0" allowfullscreen="allowfullscreen"></iframe> THE BODY has a non-linear narrative and that keeps the interest going to an extent. However the first 10 minutes prove that the execution is not upto the mark. The film has some interesting moments but are not helmed well. A few sequences that stand out are Ajay being interrogated by Jairaj. The intermission point arrests attention as a horror angle is introduced. Post interval, the film remains dry with only few moments here and there that impress. The finale is unpredictable but not very logical. Emraan Hashmi is fine but could have done better. His best scenes are with Rishi Kapoor and especially when he gets irritated with the investigation. Rishi Kapoor is a bit theatrical which wasn’t the requirement of the character. He gets the sarcasm bit right. Sobhita Dhulipalia emerges as the best performer of the film. Her role is quite badass and he does total justice. Vedhika Kumar looks glamorous and is decent. Rukhsar Ahmed (Dr Tanya) and Anupam Bhattacharya (Pavan) are passable. Songs are a big letdown and are forced. All songs of the film - <em>'Main Janta Hoon', 'Khuda Hafiz', 'Aaina'</em> and <em>'Rom Rom' </em>are forgettable. <em>'Jhalak Dikhla Jaa Reloaded'</em> is missing from the film. Clinton Cerejo's background score fails to make any impact. Satheesh Kurup's cinematography is neat. Prem Navas's production design is rich. Dipika Lal and Anirudh Singh's costumes are glamorous especially the clothes worn by Sobhita Dhulipalia and Vedhika Kumar. Ayoob Khan's editing is nothing special. On the whole, THE BODY is a dry and boring thriller. At the box office, it will turn out to be a flop.

 Nick Kyrgios faces a suspension from tennis after labelling the ATP 'corrupt'. Kyrgios made the comments after his first-round US Open win over American Steve Johnson.

The fitness guru, 33, tried his hand at comedy with a hilarious sketch featuring a lazy pizza ordering PE teacher during BBC's charity fundraising event, Big Night In, on Thursday.

Scientists are still studying the severe acute respiratory syndrome coronavirus 2 (SARS-CoV-2)and with each passing day, multiple studies are surfacing about the virus that has infected 2,830,082 people and caused 197,246 deaths worldwide. Seeing the SARS-CoV-2's highly contagious nature, the World

Rodman, Sean, 1972- author

Jocelyn, Marthe, author

Hayden Library - B398.A8 Z65 2018

ASMR, Slime, and other Oddly Satisfying videos are enormously popular online, but we know surprisingly little about the body's responses that keep us wanting -- and watching -- more. WIRED's Louise Matsakis spoke with psychologist and neuroscientist Nick Davis, who co-authored one of the first studies about ASMR.

Browsery RC560.S44 T35 2019

Browsery E185.97.B337 A3 2019

Online Resource

Dewey Library - BF575.S37 T39 2018

Jensen, Eric, 1950-

Dewey Library - PR9199.3.C499 B63 2019

Dewey Library - PR6102.A57 B63 2019

Coronavirus affects far more than just the lungs, and doctors and researchers in the midst of the pandemic are trying to catalog—and understand—the virus’ impact on our bodies. Staff Writer Meredith Wadman joins host Sarah Crespi to discuss what we know about how COVID-19 kills. See all of our News coverage of the pandemic here, and all of our Research and Editorials here. Also this week, Staff Writer Paul Voosen talks with Sarah about quantum diamond microscopes. These new devices are able to detect minute traces of magnetism, giving insight into the earliest movements of Earth’s tectonic plates and even ancient paleomagnetic events in space. This week’s episode was produced with help from Podigy. Listen to previous podcasts. About the Science Podcast Download a transcript (PDF).

The Body scores with superb performances and a thrilling story, feels Moumita Bhattacharjee.

Rotch Library - NA2543.S6 P37 2018

Maté, Gabor, author