Please post brief weekly responses to any of the questions below. Or respond to someone else's post on the work.
Why does the reading of Alice's adventure in wonderland "resist" interpretation?
What kind of universe is this, and why is the "absurdity" particularly modern?
What does Alice's world have in common with Kafka or Beckett, or even The Book of Job?
Sunday, January 31, 2010
Joyce ULYSSES notes
ULYSSES GUIDE: Type this address into your internet window and bookmark Professor Groden's page:
http:publish.uwo.ca/`mgroden/notes/index.html
Professor Groden has generously provided information on characters in ULYSSES, comments, schemas, Homeric parallells etc. This is how the initial page looks:
1. Read through the section on the EPISODE OF ULYSSES before you read to get the summary of the chapter.
2. Then read through Characters, location and time under PAGES FOR EACH EPISODE.
3. You can peruse other sections after reading or re-reading.
Michael Groden - Notes on James Joyce's Ulysses
EPISODES OF ULYSSES: 1. Telemachus - 2. Nestor - 3. Proteus - 4. Calypso - 5. Lotus Eaters - 6. Hades - 7. Aeolus - 8. Lestrygonians - 9. Scylla & Charybdis - 10. Wandering Rocks - 11. Sirens - 12. Cyclops - 13. Nausicaa - 14. Oxen of the Sun - 15. Circe - 16. Eumaeus - 17. Ithaca - 18. Penelope
– – –
PAGES FOR EACH EPISODE: Characters, Location, Time - Thoughts and Questions - Comments by Joyce - Joyce's Schema - The Homeric Parallel - Details that Recur + Same Page, Previous Episode - Same Page, Next Episode
– – –
OTHER PAGES: Sources - Bibliography - Joyce on the Web - "Ulysses Notes" Home Page - Michael Groden's Home Page - Contact Michael Groden
Home Page:
"Notes on James Joyce's Ulysses" contains six Web pages for each episode of Ulysses:
Characters, Location, Time
Thoughts and Questions
Comments by Joyce
Joyce's Schema
The Homeric Parallel
Details that Recur
Clicking on an episode name in the top section of the box at the top will take you to the "Characters, Location, Time" page for that episode. From there, you can go to any of the other pages for that episode by choosing a link in the middle section of the box.
Navigation on the Ulysses pages:
—Click on a Ulysses episode name in the top section of the box to go to the Opening Page for that episode.
—The links in the bottom section of the box take you to a list of the sources for the notes on these pages, a bibliography of Joyce texts and works about Joyce, a list of Web sites related to Joyce, the "Ulysses Notes" Home Page (this page), and my Home page, and provide a link for sending an email message to me.
—Click on a link in the middle section of the box at the top to go to a different page regarding the episode from then one you are on. These links are not active until you go to one of the episodes in the top section.
—Click on the "Same Page, Previous Episode" or "Same Page, Next Episode" link in the same section to follow the page that is on the screen from episode to episode. These links also are not active until you go to one of the episodes in the top section.
Recent Course Web Pages:
English 4520F, University of Western Ontario (undergraduate course), Fall 2009 - Home Page and Schedule
English 9014, University of Western Ontario (graduate course), Fall 2009 - Home Page and Schedule
"Reading Ulysses," Classical Pursuits, Toronto, April-June 2009 - Home Page and Schedule
"Reading Ulysses," 92nd Street Y, New York, February-March 2009 - Home Page and Schedule
http:publish.uwo.ca/`mgroden/notes/index.html
Professor Groden has generously provided information on characters in ULYSSES, comments, schemas, Homeric parallells etc. This is how the initial page looks:
1. Read through the section on the EPISODE OF ULYSSES before you read to get the summary of the chapter.
2. Then read through Characters, location and time under PAGES FOR EACH EPISODE.
3. You can peruse other sections after reading or re-reading.
Michael Groden - Notes on James Joyce's Ulysses
EPISODES OF ULYSSES: 1. Telemachus - 2. Nestor - 3. Proteus - 4. Calypso - 5. Lotus Eaters - 6. Hades - 7. Aeolus - 8. Lestrygonians - 9. Scylla & Charybdis - 10. Wandering Rocks - 11. Sirens - 12. Cyclops - 13. Nausicaa - 14. Oxen of the Sun - 15. Circe - 16. Eumaeus - 17. Ithaca - 18. Penelope
– – –
PAGES FOR EACH EPISODE: Characters, Location, Time - Thoughts and Questions - Comments by Joyce - Joyce's Schema - The Homeric Parallel - Details that Recur + Same Page, Previous Episode - Same Page, Next Episode
– – –
OTHER PAGES: Sources - Bibliography - Joyce on the Web - "Ulysses Notes" Home Page - Michael Groden's Home Page - Contact Michael Groden
Home Page:
"Notes on James Joyce's Ulysses" contains six Web pages for each episode of Ulysses:
Characters, Location, Time
Thoughts and Questions
Comments by Joyce
Joyce's Schema
The Homeric Parallel
Details that Recur
Clicking on an episode name in the top section of the box at the top will take you to the "Characters, Location, Time" page for that episode. From there, you can go to any of the other pages for that episode by choosing a link in the middle section of the box.
Navigation on the Ulysses pages:
—Click on a Ulysses episode name in the top section of the box to go to the Opening Page for that episode.
—The links in the bottom section of the box take you to a list of the sources for the notes on these pages, a bibliography of Joyce texts and works about Joyce, a list of Web sites related to Joyce, the "Ulysses Notes" Home Page (this page), and my Home page, and provide a link for sending an email message to me.
—Click on a link in the middle section of the box at the top to go to a different page regarding the episode from then one you are on. These links are not active until you go to one of the episodes in the top section.
—Click on the "Same Page, Previous Episode" or "Same Page, Next Episode" link in the same section to follow the page that is on the screen from episode to episode. These links also are not active until you go to one of the episodes in the top section.
Recent Course Web Pages:
English 4520F, University of Western Ontario (undergraduate course), Fall 2009 - Home Page and Schedule
English 9014, University of Western Ontario (graduate course), Fall 2009 - Home Page and Schedule
"Reading Ulysses," Classical Pursuits, Toronto, April-June 2009 - Home Page and Schedule
"Reading Ulysses," 92nd Street Y, New York, February-March 2009 - Home Page and Schedule
Course Description & Information
English 753 .2X(Thurs. 4:30-6:00) P.Laurence
Twentieth Century Literature: The Reading Eye Spring 2010
Reading is the subject of this course. The writings of Proust, Joyce and Woolf, among others, present a challenge to many readers schooled in the social and psychological realism of the nineteenth-century novel, more firmly anchored in a social and factual world. We will focus on ways of reading sometimes less accessible and resistant texts through an apprenticeship in learning to read signs. Through analysis of scenes of reading (and more) in twentieth-century literature (that includes modernism), we will discover new ground for reading and illuminating interconnections.
We focus on this topic not only because acts of reading preoccupy twentieth-century authors and theorists, but because of the evolving nature of reading and writing in the new millenium. Reading takes time, and we have devised many ways of avoiding it or reading and writing quickly: see the film, read it on Kindle or your i-phone, read the quick notes, scan a review, browse the comic book, make the story short.
What’s to be discovered then in focusing, for example, on scenes of childhood reading or women reading? Elizabeth Bowen’s childhood reading prepared her, she said “to handle any book like a bomb,” and led, eventually, to the “inventive pen.” How do we become inventive readers? What do Proust, Woolf or Freud say about reading? What do the theorists contribute—for example, Barthes, Levi-Strauss, deMan, Derrida—to our interpretation of literary scenes of reading and conceptions of writing?
Course requirements: one short paper, one longer paper, class presentation, attention to the class blog.
Course Expectations:
Papers: Two papers (3pp., 10 pp.): the Shorter Paper to be written early in the semester should examine a theoretical aspect or suggest research directions on the topic, reading, in relation to texts read this semester. This will then be developed into the Longer Paper.
Oral Presentations: One short presentation on a critical view of “reading” (reader-response, scenes and postures of reading, psychology of, resistance to interpretation etc.)—your choice from books placed on Reserve in the library. This critical view might be integrated into your longer paper.
Final Exam: May 19-25
Absences: Two absences allowed. Upon the third absence, you will be dropped from the course unless there is a special situation.
Office Hours: Thursday, 2:00-3:30 or by appt. You will be expected to have a conference with me on the subject of your longer paper between Feb.-April. Final paper due, .
Office: Boylan, 2/157
E-mail: plaurence@rcn.com
Blog: www.http:bclit.blogspot.com (BC Readers-title)
Class blog: check this for a bi-weekly question that you are invited to respond to on-line, usually in preparation for class discussion; events in the city relevant to the course; other literary and cultural items of interest; class info.
Reserve Books in the Library: list to be distributed for consultation for oral report and papers
Twentieth Century Literature: The Reading Eye Spring 2010
Reading is the subject of this course. The writings of Proust, Joyce and Woolf, among others, present a challenge to many readers schooled in the social and psychological realism of the nineteenth-century novel, more firmly anchored in a social and factual world. We will focus on ways of reading sometimes less accessible and resistant texts through an apprenticeship in learning to read signs. Through analysis of scenes of reading (and more) in twentieth-century literature (that includes modernism), we will discover new ground for reading and illuminating interconnections.
We focus on this topic not only because acts of reading preoccupy twentieth-century authors and theorists, but because of the evolving nature of reading and writing in the new millenium. Reading takes time, and we have devised many ways of avoiding it or reading and writing quickly: see the film, read it on Kindle or your i-phone, read the quick notes, scan a review, browse the comic book, make the story short.
What’s to be discovered then in focusing, for example, on scenes of childhood reading or women reading? Elizabeth Bowen’s childhood reading prepared her, she said “to handle any book like a bomb,” and led, eventually, to the “inventive pen.” How do we become inventive readers? What do Proust, Woolf or Freud say about reading? What do the theorists contribute—for example, Barthes, Levi-Strauss, deMan, Derrida—to our interpretation of literary scenes of reading and conceptions of writing?
Course requirements: one short paper, one longer paper, class presentation, attention to the class blog.
Course Expectations:
Papers: Two papers (3pp., 10 pp.): the Shorter Paper to be written early in the semester should examine a theoretical aspect or suggest research directions on the topic, reading, in relation to texts read this semester. This will then be developed into the Longer Paper.
Oral Presentations: One short presentation on a critical view of “reading” (reader-response, scenes and postures of reading, psychology of, resistance to interpretation etc.)—your choice from books placed on Reserve in the library. This critical view might be integrated into your longer paper.
Final Exam: May 19-25
Absences: Two absences allowed. Upon the third absence, you will be dropped from the course unless there is a special situation.
Office Hours: Thursday, 2:00-3:30 or by appt. You will be expected to have a conference with me on the subject of your longer paper between Feb.-April. Final paper due, .
Office: Boylan, 2/157
E-mail: plaurence@rcn.com
Blog: www.http:bclit.blogspot.com (BC Readers-title)
Class blog: check this for a bi-weekly question that you are invited to respond to on-line, usually in preparation for class discussion; events in the city relevant to the course; other literary and cultural items of interest; class info.
Reserve Books in the Library: list to be distributed for consultation for oral report and papers
Book List
English 753,2X: Twentieth-Century Literature P. Laurence
Spring 2010
Book List
Available in Shakespeare & Co.
(I highly recommend that you buy the editions below; otherwise, you will be searching for passages when examined in class.)
Carroll, Lewis. Alice in Wonderland (Signet ed.)
Proust, In Search of Lost Time, vol. 1 (Swann’s Way) trans. Moncrief, Kilmartin & Enright. (Modern Library ed.)
Woolf, Virginia. To the Lighthouse (Harcourt)
Joyce, James. Ulysses (Modern Library ed.)
Bowen, Elizabeth. A Death of the Heart. (Random House)
Schlink, Bernard. The Reader (Vintage Intl)
Spring 2010
Book List
Available in Shakespeare & Co.
(I highly recommend that you buy the editions below; otherwise, you will be searching for passages when examined in class.)
Carroll, Lewis. Alice in Wonderland (Signet ed.)
Proust, In Search of Lost Time, vol. 1 (Swann’s Way) trans. Moncrief, Kilmartin & Enright. (Modern Library ed.)
Woolf, Virginia. To the Lighthouse (Harcourt)
Joyce, James. Ulysses (Modern Library ed.)
Bowen, Elizabeth. A Death of the Heart. (Random House)
Schlink, Bernard. The Reader (Vintage Intl)
Tuesday, January 26, 2010
Propose a Paper: BC Student Conference, April 10
Call for Proposals
"Deconstructing the Gods: Towards a Post-Religious Criticism"
Third Annual Brooklyn College Graduate English Conference
April 10, 2010, Brooklyn College, Brooklyn, NY
Keynote: Prof. Steven Kruger, English and Medieval Studies, CUNY
Graduate Center
If one were asked to provide a single explanation for the growth of
English studies in the later nineteenth century, one could do worse than
reply, "the failure of religion." - Terry Eagleton
Literature would begin wherever one no longer knows who writes and who
signs the narrative of the call - and of the "Here I Am"- between the
absolute Father and Son. - Jacques Derrida
The concept of "God," in our increasingly pluralist postmodern
environment, is protean and subject to vastly divergent individual
definitions. Yet gods are often regarded as the most objective and
stable nuclei of religious communities. Whereas gods may be imagined as
idealized selves, and may epitomize correct morality for a believer,
they may simultaneously be said to function as political and rhetorical
devices--dangerously slippery proxies of both transcendent subjectivity
and faith-based violence.
One of the more liberating tasks of literary criticism, especially since
the latter half of the 20th century, has been its attempt to uncover
traces of dominant structures that lie dormant in literary texts.
Marxist criticism has brought an examination of economic structures in a
text. Feminist criticism has brought a critique of patriarchal forces.
Postcolonial thought has unfolded the effects of colonialism and
imperialism. Where, one might ask, is the criticism of religious power,
and how might it be foregrounded? Unlike other modes of thought,
religious discourse is uniquely protected by a veneer of the sacred,
which allows it to be self-censoring or, as Derrida said,
auto-immunizing. Literary criticism operates as a sort of secular
exegesis; it is perhaps for this reason, and because of the
pseudo-religious assumptions of criticism, that religion is often elided
from critical inquiry. What might a post-religious criticism reveal
about the religious forces at work within texts and canons? Within
criticism itself?
From the feudal warrior culture of Beowulf to the heretical Catholicisms
of Ulysses, religious forces are active, whether as narrative fulcra or
dynamic backdrops. Literary works such as The Song of Roland depict
warring factions of religionists, each with a god-concept at the helm of
their ideological battleship. Dissecting these gods with the tools of
cultural criticism has the potential to bring new insight, and to
uncover power structures previously unnoticed. How might we discover,
for instance, textual evidence for ways in which religions have been
used as a means of solidifying tribal identity, and for ways in which
religions have been the ideological forces behind genocide? This
conference seeks to explore the significance of the "post-religious" in
all of its senses, both as an object of literary representation and as a
condition of literary study.
Sample topics might include, but are by no means limited to:?
* The Divine Author(ity)?
* Homoeroticism in Early Modern Devotional Literature?
* Eden, Exile, and the Fortunate Fall?
* Divine Revelation and the Muse?
* Via Negativa: What God Isn't?
* God, Ego, and the God-Self?
* The Sacred and the Taboo: Religion as a Self-Censoring
Discourse?
* Atheist Literature of the 19th century?
* Ghosts: Spiritualism in the 19th Century?
* The Poetics of Transcendent Experience?
* The Apostate in Islamic Literature?
* Confessional Literature and the Catholic Confessional?
* Holy Texts and the Language of Violence?
* Alterity: Demonization of the "Other" Religion?
* Liberation Theologies?
* Blasphemous Humor as Social Satire?
* Madness and Heresy?
* The Christian Rhetoric of Imperialism
Abstracts of no more than 300 words are due by January 31st, 2010. Send
them in the body of your email to bcgradconference@gmail.com.
"Deconstructing the Gods: Towards a Post-Religious Criticism"
Third Annual Brooklyn College Graduate English Conference
April 10, 2010, Brooklyn College, Brooklyn, NY
Keynote: Prof. Steven Kruger, English and Medieval Studies, CUNY
Graduate Center
If one were asked to provide a single explanation for the growth of
English studies in the later nineteenth century, one could do worse than
reply, "the failure of religion." - Terry Eagleton
Literature would begin wherever one no longer knows who writes and who
signs the narrative of the call - and of the "Here I Am"- between the
absolute Father and Son. - Jacques Derrida
The concept of "God," in our increasingly pluralist postmodern
environment, is protean and subject to vastly divergent individual
definitions. Yet gods are often regarded as the most objective and
stable nuclei of religious communities. Whereas gods may be imagined as
idealized selves, and may epitomize correct morality for a believer,
they may simultaneously be said to function as political and rhetorical
devices--dangerously slippery proxies of both transcendent subjectivity
and faith-based violence.
One of the more liberating tasks of literary criticism, especially since
the latter half of the 20th century, has been its attempt to uncover
traces of dominant structures that lie dormant in literary texts.
Marxist criticism has brought an examination of economic structures in a
text. Feminist criticism has brought a critique of patriarchal forces.
Postcolonial thought has unfolded the effects of colonialism and
imperialism. Where, one might ask, is the criticism of religious power,
and how might it be foregrounded? Unlike other modes of thought,
religious discourse is uniquely protected by a veneer of the sacred,
which allows it to be self-censoring or, as Derrida said,
auto-immunizing. Literary criticism operates as a sort of secular
exegesis; it is perhaps for this reason, and because of the
pseudo-religious assumptions of criticism, that religion is often elided
from critical inquiry. What might a post-religious criticism reveal
about the religious forces at work within texts and canons? Within
criticism itself?
From the feudal warrior culture of Beowulf to the heretical Catholicisms
of Ulysses, religious forces are active, whether as narrative fulcra or
dynamic backdrops. Literary works such as The Song of Roland depict
warring factions of religionists, each with a god-concept at the helm of
their ideological battleship. Dissecting these gods with the tools of
cultural criticism has the potential to bring new insight, and to
uncover power structures previously unnoticed. How might we discover,
for instance, textual evidence for ways in which religions have been
used as a means of solidifying tribal identity, and for ways in which
religions have been the ideological forces behind genocide? This
conference seeks to explore the significance of the "post-religious" in
all of its senses, both as an object of literary representation and as a
condition of literary study.
Sample topics might include, but are by no means limited to:?
* The Divine Author(ity)?
* Homoeroticism in Early Modern Devotional Literature?
* Eden, Exile, and the Fortunate Fall?
* Divine Revelation and the Muse?
* Via Negativa: What God Isn't?
* God, Ego, and the God-Self?
* The Sacred and the Taboo: Religion as a Self-Censoring
Discourse?
* Atheist Literature of the 19th century?
* Ghosts: Spiritualism in the 19th Century?
* The Poetics of Transcendent Experience?
* The Apostate in Islamic Literature?
* Confessional Literature and the Catholic Confessional?
* Holy Texts and the Language of Violence?
* Alterity: Demonization of the "Other" Religion?
* Liberation Theologies?
* Blasphemous Humor as Social Satire?
* Madness and Heresy?
* The Christian Rhetoric of Imperialism
Abstracts of no more than 300 words are due by January 31st, 2010. Send
them in the body of your email to bcgradconference@gmail.com.
Propose a Paper, U of Albany, April16-17, 2010
The University at Albany English Graduate Student Organization is pleased to announce an April 16-17 graduate conference titled “Turning on Rights: Politics, Performance, and the Text."
The SUNY Albany English Graduate Student Organization (EGSO) announces its eighth annual graduate student conference:
"Turning on Rights: Politics, Performance, and the Text"
Friday and Saturday, April 16-17, 2010
University Hall, Uptown Campus, SUNY Albany
Keynote: Joseph Slaughter, Associate Professor of English and Comparative Literature at Columbia University, author of Human Rights, Inc.: The World Novel, Narrative Form, and International Law
Call for Proposals:
“We must more than ever stand on the side of human rights. We need human rights. We are in need of them and they are in need, for there is always a lack, a shortfall, a falling short, an insufficiency; human rights are never sufficient.” (Jacques Derrida, Philosophy in a Time of Terror)
If human rights are insufficient yet necessary, we must then ask what to do with “rights.” This conference will explore historical and theoretical definitions, constructions, and performative notions of rights. How do texts challenge predominant conceptual narratives of rights? In what ways does literature explore notions of rights outside of the juridical realm? Can we have a discourse on rights that exceeds the anthropomorphic field?
In wide ranging disciplines, rights of the subject and to the objective world are both historically grounded and contemporarily debated. If discourses of all varieties are also textual sites, then the places where rights are manifested (technology, culture, art and literature, science, law, and ontology) must be read and ultimately performed.
As the focus of our 8th annual Graduate Student Conference, the English Graduate Student Organization at the University at Albany seeks both critical and creative projects that further this discussion. Our keynote speaker will be Joseph Slaughter, Associate Professor of English and Comparative Literature at Columbia and author of Human Rights, Inc.: The World Novel, Narrative Form, and International Law. The Friday evening event will commence with a creative performance, featuring a poet TBA. We encourage submissions from graduate students working in any field, historical period, or scholarly discipline. We also solicit creative submissions for inclusion in the Friday evening performance. Critical abstracts should be limited to 250-300 words; creative abstracts should include a 300 word or less description and a 3 page sample. Submit abstracts to: egsoalbany@yahoo.com by February 14, 2009. Please label e-mail subject as “2009 conference”. For more information, visit our website: http://www.albany.edu/english/egso.shtml.
Possible areas of inquiry may include, but are not limited to:
• Animal and Other Alterities
• Violence, Trauma, and Testimony
• Sovereignty, Exemplarity, and Exception
• Environmental, Agricultural, and Terrestrial Rights
• Witnessing vs. Performing Rights
• Authorship, Readership, Agency
• Global vs. National Rights
• Unwritten, Inalienable Rights
• Definitions of Freedom
• Sexual and Reproductive Rights
• Corporate and Commercial Rights,
• Information, Technology, and Copyright
• Rights and the Demarcations of the Body
• Rights in the Realm of the Post-Human and Virtual
English Graduate Student Organization
University at Albany, SUNY
Humanities 333
1400 Washington Avenue
Albany, NY 12222
The SUNY Albany English Graduate Student Organization (EGSO) announces its eighth annual graduate student conference:
"Turning on Rights: Politics, Performance, and the Text"
Friday and Saturday, April 16-17, 2010
University Hall, Uptown Campus, SUNY Albany
Keynote: Joseph Slaughter, Associate Professor of English and Comparative Literature at Columbia University, author of Human Rights, Inc.: The World Novel, Narrative Form, and International Law
Call for Proposals:
“We must more than ever stand on the side of human rights. We need human rights. We are in need of them and they are in need, for there is always a lack, a shortfall, a falling short, an insufficiency; human rights are never sufficient.” (Jacques Derrida, Philosophy in a Time of Terror)
If human rights are insufficient yet necessary, we must then ask what to do with “rights.” This conference will explore historical and theoretical definitions, constructions, and performative notions of rights. How do texts challenge predominant conceptual narratives of rights? In what ways does literature explore notions of rights outside of the juridical realm? Can we have a discourse on rights that exceeds the anthropomorphic field?
In wide ranging disciplines, rights of the subject and to the objective world are both historically grounded and contemporarily debated. If discourses of all varieties are also textual sites, then the places where rights are manifested (technology, culture, art and literature, science, law, and ontology) must be read and ultimately performed.
As the focus of our 8th annual Graduate Student Conference, the English Graduate Student Organization at the University at Albany seeks both critical and creative projects that further this discussion. Our keynote speaker will be Joseph Slaughter, Associate Professor of English and Comparative Literature at Columbia and author of Human Rights, Inc.: The World Novel, Narrative Form, and International Law. The Friday evening event will commence with a creative performance, featuring a poet TBA. We encourage submissions from graduate students working in any field, historical period, or scholarly discipline. We also solicit creative submissions for inclusion in the Friday evening performance. Critical abstracts should be limited to 250-300 words; creative abstracts should include a 300 word or less description and a 3 page sample. Submit abstracts to: egsoalbany@yahoo.com by February 14, 2009. Please label e-mail subject as “2009 conference”. For more information, visit our website: http://www.albany.edu/english/egso.shtml.
Possible areas of inquiry may include, but are not limited to:
• Animal and Other Alterities
• Violence, Trauma, and Testimony
• Sovereignty, Exemplarity, and Exception
• Environmental, Agricultural, and Terrestrial Rights
• Witnessing vs. Performing Rights
• Authorship, Readership, Agency
• Global vs. National Rights
• Unwritten, Inalienable Rights
• Definitions of Freedom
• Sexual and Reproductive Rights
• Corporate and Commercial Rights,
• Information, Technology, and Copyright
• Rights and the Demarcations of the Body
• Rights in the Realm of the Post-Human and Virtual
English Graduate Student Organization
University at Albany, SUNY
Humanities 333
1400 Washington Avenue
Albany, NY 12222
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