wanyu/IteraTeR_full_sent huggingface dataset:
Original:                & &                           & &                           & &                           & &    
Revised:  & & & & & & The next challenge to the dominance of craft unions within the AFL came from inside, as John L. Lewis of the Mine Workers, David Dubinsky of the ILGWU, Sidney Hillman of the Amalgamated Clothing Workers of America, Charles Howard of the International Typographical Union, Thomas McMahon, head of the United Textile Workers, John Sheridan of the Mine, Mill and Smelter Workers Union (the descendant of the WFM), Harvey Fremming from the Oil Workers Union and Max Zaritsky of the Hatters, Cap and Millinery Workers joined to form a Committee for Industrial Organizing within the AFL. The craft unions demanded that Lewis and his committee stop; Lewis persisted. & & 
Edit intent: meaning-changed
Original:                & &                           & &                           & &                           & &    
Revised:  & & & & & & This dispute came to a head at the AFL’s convention in Atlantic City in 1935, when William Hutcheson, the President of the Carpenters, made a slighting comment about a member of the fledgling union of tire factory workers who was delivering an organizing report. Lewis responded that Hutcheson’s comment was "small potatoes", to which Hutcheson replied "I was raised on small potatoes, that is why I am so small." After some more words Lewis punched Hutcheson, knocking him to the ground, then relit his cigar and returned to the rostrum. The incident – which was also "small potatoes", but very memorable – personified the conflict between craft and industrial organizing. The CIO proceeded to organize mass production workers on an industrial basis. & & 
Edit intent: meaning-changed
Original:                & &                           & &                           & &                           & &    
Revised:  & & & & & & The AFL's response to the challenge from the CIO was twofold: both fighting a rearguard action before the National Labor Relations Board to preserve its right to represent the skilled trades in many of the plants that the CIO was organizing, and attempting to emulate it. Thus, within a decade of the founding of the CIO, unions that had been primarily craft unions, such as the International Association of Machinists, originally a railroad union with much of its membership in the construction industry, began to make serious efforts to organize on an industrial basis as well. Even the Carpenters took in sawmill workers who had organized on an industrial basis, although the union continued to treat them as second-class members until they seceded to form the International Woodworkers of America in 1937. & & 
Edit intent: meaning-changed
Original:                & &                           & &                           & &                           & &    
Revised:  & & & & & & Persistence Craft unionism has receded in many industries as a result of changes in technology, the concentration of ownership and jurisdictional conflicts between craft unions. Craft unionism has not, however, disappeared: it is still the norm in the airline industry, survives despite much upheaval in the construction industry, and even appears, in very muted form, in some mass production industries, such as automobile manufacturing, where skilled trades employees have pressed their own agendas within the union. & & 
Edit intent: meaning-changed
Original:                & &                           & &                           & &                           & &    
Revised:  & & & & & & & & isuhjnvosioiiuh;oijfv;iejnvdnabhuddkbjh nvushcodvbfuvhnoigjnkcgjxachvbsvhgcsbghfinjmk;clamkcgsoindvbhvgjckzjvgbvsiuaj ofeibuc894yc874ytbg78yc 78yt89734xgyb3ct93x8tbqdtbqctqx9n6t3784n8xgtn6ctb6gxt6cbt
Edit intent: meaning-changed
Original: Tono Maria also known as the “Venus of South America” was another woman , similar to Sarah Baartman’s case, that was exhibited in the “London shows” or freak shows in the 1800s. Tono Maria, an Aimoré woman from the South American region , now the Brazilian state of Minas Gerais, was known for her scars, social codes that signified her sexual transgressions, her full figure and large lip and ear plugs .
Revised: Tono Maria also known as the “Venus of South America” was another woman , similar to Sarah Baartman’s case, that was exhibited in the “London shows” or freak shows in London during the early 19th century. She was an Aimoré woman from the South American region , now the Brazilian state of Minas Gerais, was known for her scars, social codes that signified her sexual transgressions, her full figure and large lip and ear plugs .
Edit intent: coherence
Original:  Tono Maria, an Aimoré woman from the South American region , now the Brazilian state of Minas Gerais, was known for her scars, social codes that signified her sexual transgressions, her full figure and large lip and ear plugs .
Revised:  Tono Maria, an Aimoré woman who was born in the Minas Gerais region of Brazil and eventually moved to London at some point in her life. Marketed as the “Venus of South America”, Maria was displayed on numerous freak shows throughout the city, where her numerous body scars (which were claimed to signify a sexual transgression she had committed), large figure, lip and ear plugs .
Edit intent: meaning-changed
Original:  Tono Maria, an Aimoré woman from the South American region , now the Brazilian state of Minas Gerais, was known for her scars, social codes that signified her sexual transgressions, her full figure and large lip and ear plugs . Tono Maria’s features fascinated the London spectators and further fueled their studies in scientific racism and western superiority .
Revised:  Tono Maria, an Aimoré woman from the South American region , now the Brazilian state of Minas Gerais, was known for her scars, social codes that signified her sexual transgressions, her full figure and large lip and ear plugs became objections of fascination for numerous spectators who viewed her .
Edit intent: clarity
Original:  Life Tono Maria was displayed in a London freak show, and described in an 1822 article called the “Sketches of Society: The Shows of London ” as the Venus of South America whose “charms are reputed to have been irresistible in her native land in which she made conquest of no fewer than three chieftains in succession . " She is described at the time as being "about forty years of age".
Revised:  Life Tono Maria an Aimoré woman who was born in the Minas Gerais region of Brazil around 1782. She eventually moved to London at some point in her life, and was displayed in numerous freak shows around the city. Maria was described in an 1822 article called the “Sketches of Society: The Shows of London ” as the Venus of South America whose “charms are reputed to have been irresistible in her native land in which she made conquest of no fewer than three chieftains in succession . " She is described at the time as being "about forty years of age".
Edit intent: meaning-changed
Original:  Life Tono Maria was displayed in a London freak show, and described in an 1822 article called the “Sketches of Society: The Shows of London ” as the Venus of South America whose “charms are reputed to have been irresistible in her native land in which she made conquest of no fewer than three chieftains in succession . " She is described at the time as being "about forty years of age".
Revised:  Life Tono Maria was displayed in a London freak show, and described in an article written for the London Literary Gazette as being marketed as the " Venus of South America whose “charms are reputed to have been irresistible in her native land in which she made conquest of no fewer than three chieftains in succession . " She is described at the time as being "about forty years of age".
Edit intent: meaning-changed
Original:  Life Tono Maria was displayed in a London freak show, and described in an 1822 article called the “Sketches of Society: The Shows of London ” as the Venus of South America whose “charms are reputed to have been irresistible in her native land in which she made conquest of no fewer than three chieftains in succession . " She is described at the time as being "about forty years of age".
Revised:  Life Tono Maria was displayed in a London freak show, and described in an 1822 article called the “Sketches of Society: The Shows of London ” as the Venus of South America "; the article went on to note that Maria's “charms are reputed to have been irresistible in her native land in which she made conquest of no fewer than three chieftains in succession . " She is described at the time as being "about forty years of age".
Edit intent: clarity
Original:  Life Tono Maria was displayed in a London freak show, and described in an 1822 article called the “Sketches of Society: The Shows of London ” as the Venus of South America whose “charms are reputed to have been irresistible in her native land in which she made conquest of no fewer than three chieftains in succession . " She is described at the time as being "about forty years of age".
Revised:  Life Tono Maria was displayed in a London freak show, and described in an 1822 article called the “Sketches of Society: The Shows of London ” as the Venus of South America whose “charms are reputed to have been irresistible in her native land in which she made conquest of no fewer than three chieftains in succession " She is described at the time as being "about forty years of age".
Edit intent: fluency
Original:  Life Tono Maria was displayed in a London freak show, and described in an 1822 article called the “Sketches of Society: The Shows of London ” as the Venus of South America whose “charms are reputed to have been irresistible in her native land in which she made conquest of no fewer than three chieftains in succession . " She is described at the time as being "about forty years of age".
Revised:  Life Tono Maria was displayed in a London freak show, and described in an 1822 article called the “Sketches of Society: The Shows of London ” as the Venus of South America whose “charms are reputed to have been irresistible in her native land in which she made conquest of no fewer than three chieftains in succession . " . She was described in the article as being "about forty years of age".
Edit intent: clarity
Original:  URL Symbolism Author Janell Hobson briefly recounts Tono Maria in her memoir , Venus in the Dark , and describes how the London spectators viewed her nearly 100 scars, each supposedly representing a sexual transgression committed in her own tribe, as a social stigma, a mark of excess sexuality representing how nonwhites were "openly licentious, debauched, and depraved” in comparison with European white women who were considered “pure” and “refined” .Janell Hobson.
Revised:  URL Legacy University at Albany professor Janell Hobson briefly recounts Tono Maria in her memoir , Venus in the Dark , and describes how the London spectators viewed her nearly 100 scars, each supposedly representing a sexual transgression committed in her own tribe, as a social stigma, a mark of excess sexuality representing how nonwhites were "openly licentious, debauched, and depraved” in comparison with European white women who were considered “pure” and “refined” .Janell Hobson.
Edit intent: meaning-changed
Original:  URL Symbolism Author Janell Hobson briefly recounts Tono Maria in her memoir , Venus in the Dark , and describes how the London spectators viewed her nearly 100 scars, each supposedly representing a sexual transgression committed in her own tribe, as a social stigma, a mark of excess sexuality representing how nonwhites were "openly licentious, debauched, and depraved” in comparison with European white women who were considered “pure” and “refined” .Janell Hobson.
Revised:  URL Symbolism Author Janell Hobson briefly recounted Maria in her memoir , Venus in the Dark , and describes how the London spectators viewed her nearly 100 scars, each supposedly representing a sexual transgression committed in her own tribe, as a social stigma, a mark of excess sexuality representing how nonwhites were "openly licentious, debauched, and depraved” in comparison with European white women who were considered “pure” and “refined” .Janell Hobson.
Edit intent: clarity
Original:  URL Symbolism Author Janell Hobson briefly recounts Tono Maria in her memoir , Venus in the Dark , and describes how the London spectators viewed her nearly 100 scars, each supposedly representing a sexual transgression committed in her own tribe, as a social stigma, a mark of excess sexuality representing how nonwhites were "openly licentious, debauched, and depraved” in comparison with European white women who were considered “pure” and “refined” .Janell Hobson.
Revised:  URL Symbolism Author Janell Hobson briefly recounts Tono Maria in her book , Venus in the Dark , and describes how the London spectators viewed her nearly 100 scars, each supposedly representing a sexual transgression committed in her own tribe, as a social stigma, a mark of excess sexuality representing how nonwhites were "openly licentious, debauched, and depraved” in comparison with European white women who were considered “pure” and “refined” .Janell Hobson.
Edit intent: clarity
Original:  URL Symbolism Author Janell Hobson briefly recounts Tono Maria in her memoir , Venus in the Dark , and describes how the London spectators viewed her nearly 100 scars, each supposedly representing a sexual transgression committed in her own tribe, as a social stigma, a mark of excess sexuality representing how nonwhites were "openly licentious, debauched, and depraved” in comparison with European white women who were considered “pure” and “refined” .Janell Hobson.
Revised:  URL Symbolism Author Janell Hobson briefly recounts Tono Maria in her memoir , Venus in the Dark : Blackness and Beauty in Popular Culture, describing how the London spectators viewed her nearly 100 scars, each supposedly representing a sexual transgression committed in her own tribe, as a social stigma, a mark of excess sexuality representing how nonwhites were "openly licentious, debauched, and depraved” in comparison with European white women who were considered “pure” and “refined” .Janell Hobson.
Edit intent: meaning-changed
Original:  URL Symbolism Author Janell Hobson briefly recounts Tono Maria in her memoir , Venus in the Dark , and describes how the London spectators viewed her nearly 100 scars, each supposedly representing a sexual transgression committed in her own tribe, as a social stigma, a mark of excess sexuality representing how nonwhites were "openly licentious, debauched, and depraved” in comparison with European white women who were considered “pure” and “refined” .Janell Hobson.
Revised:  URL Symbolism Author Janell Hobson briefly recounts Tono Maria in her memoir , Venus in the Dark , and describes how the London spectators took particular note of the scars on her body which nearly numbered a hundred; with each scar supposedly representing a sexual transgression committed in her own tribe, as a social stigma, a mark of excess sexuality representing how nonwhites were "openly licentious, debauched, and depraved” in comparison with European white women who were considered “pure” and “refined” .Janell Hobson.
Edit intent: clarity
Original:  URL Symbolism Author Janell Hobson briefly recounts Tono Maria in her memoir , Venus in the Dark , and describes how the London spectators viewed her nearly 100 scars, each supposedly representing a sexual transgression committed in her own tribe, as a social stigma, a mark of excess sexuality representing how nonwhites were "openly licentious, debauched, and depraved” in comparison with European white women who were considered “pure” and “refined” .Janell Hobson.
Revised:  URL Symbolism Author Janell Hobson briefly recounts Tono Maria in her memoir , Venus in the Dark , and describes how the London spectators viewed her nearly 100 scars, each supposedly representing a sexual transgression committed by Maria. Hobson used Maria to illustrate the contrasting depictions of sexuality between white women and women of color .Janell Hobson.
Edit intent: clarity
Original:  Author Rosemarie Garland Thompson mentions Tono Maria in her book, Extraordinary Bodies  , as a spectacle that  “ confirmed the Englishman’s sense of physical mastery” and was seen as a cautionary tale of female sexual appetite .
Revised:  American scholar Rosemarie Garland-Thomson mentioned Maria in her book, Extraordinary Bodies , as a spectacle that “ confirmed the Englishman’s sense of physical mastery” and was seen as a cautionary tale of female sexual appetite .
Edit intent: clarity
Original:  Author Rosemarie Garland Thompson mentions Tono Maria in her book, Extraordinary Bodies  , as a spectacle that  “ confirmed the Englishman’s sense of physical mastery” and was seen as a cautionary tale of female sexual appetite .
Revised:  Author Rosemarie Garland Thompson mentions Tono Maria in her book, Extraordinary Bodies : Figuring Physical Disability in American Culture and Literature , as a spectacle that “ confirmed the Englishman’s sense of physical mastery” and was seen as a cautionary tale of female sexual appetite .
Edit intent: meaning-changed
Original:  Author Rosemarie Garland Thompson mentions Tono Maria in her book, Extraordinary Bodies  , as a spectacle that  “ confirmed the Englishman’s sense of physical mastery” and was seen as a cautionary tale of female sexual appetite .
Revised:  Author Rosemarie Garland Thompson mentions Tono Maria in her book, Extraordinary Bodies , as a spectacle that the London spectators used to confirm their “ confirmed the Englishman’s sense of physical mastery” and was seen as a cautionary tale of female sexual appetite .
Edit intent: meaning-changed
Original:  Author Rosemarie Garland Thompson mentions Tono Maria in her book, Extraordinary Bodies  , as a spectacle that  “ confirmed the Englishman’s sense of physical mastery” and was seen as a cautionary tale of female sexual appetite .
Revised:  Author Rosemarie Garland Thompson mentions Tono Maria in her book, Extraordinary Bodies , as a spectacle that “ sense of physical mastery” and was seen as a cautionary tale of female sexual appetite .
Edit intent: coherence
Original:  Author Rosemarie Garland Thompson mentions Tono Maria in her book, Extraordinary Bodies  , as a spectacle that  “ confirmed the Englishman’s sense of physical mastery” and was seen as a cautionary tale of female sexual appetite .
Revised:  Author Rosemarie Garland Thompson mentions Tono Maria in her book, Extraordinary Bodies , as a spectacle that “ confirmed the Englishman’s sense of physical mastery” . Thompson also noted that Maria was seen as a cautionary tale of female sexual appetite .
Edit intent: coherence
Original:  Author Rosemarie Garland Thompson mentions Tono Maria in her book, Extraordinary Bodies  , as a spectacle that  “ confirmed the Englishman’s sense of physical mastery” and was seen as a cautionary tale of female sexual appetite .
Revised:  Author Rosemarie Garland Thompson mentions Tono Maria in her book, Extraordinary Bodies , as a spectacle that “ confirmed the Englishman’s sense of physical mastery” and was seen as a cautionary tale of female hypersexuality .
Edit intent: clarity
Original:  Retrieved from URL Competitive Landscape Profile Competitive Landscape Profile Achievement After companies consider the influence of global economy and technological changes during their strategic management process, they should focus on understanding the competitive landscape profile which is a comparative analysis of products from one company with the ones from another company, in order to understand the strengths and weaknesses.
Revised:  Retrieved from URL Competitive Landscape Profile Competitive Landscape Profile Achievement After companies consider the influence of global economy and technological changes in the strategic management process, they should focus on understanding the competitive landscape profile which is a comparative analysis of products from one company with the ones from another company, in order to understand the strengths and weaknesses.
Edit intent: clarity
Original:  Retrieved from URL Competitive Landscape Profile Competitive Landscape Profile Achievement After companies consider the influence of global economy and technological changes during their strategic management process, they should focus on understanding the competitive landscape profile which is a comparative analysis of products from one company with the ones from another company, in order to understand the strengths and weaknesses.
Revised:  Retrieved from URL Competitive Landscape Profile Competitive Landscape Profile Achievement After companies consider the influence of global economy and technological changes during their strategic management process, they focus on the competitive landscape profile which is a comparative analysis of products from one company with the ones from another company, in order to understand the strengths and weaknesses.
Edit intent: coherence
Original:  Retrieved from URL Competitive Landscape Profile Competitive Landscape Profile Achievement After companies consider the influence of global economy and technological changes during their strategic management process, they should focus on understanding the competitive landscape profile which is a comparative analysis of products from one company with the ones from another company, in order to understand the strengths and weaknesses.
Revised:  Retrieved from URL Competitive Landscape Profile Competitive Landscape Profile Achievement After companies consider the influence of global economy and technological changes during their strategic management process, they should focus on understanding the competitive landscape profile — a comparative analysis of products from one company with the ones from another company, in order to understand the strengths and weaknesses.
Edit intent: coherence
Original:  Retrieved from URL Competitive Landscape Profile Competitive Landscape Profile Achievement After companies consider the influence of global economy and technological changes during their strategic management process, they should focus on understanding the competitive landscape profile which is a comparative analysis of products from one company with the ones from another company, in order to understand the strengths and weaknesses.
Revised:  Retrieved from URL Competitive Landscape Profile Competitive Landscape Profile Achievement After companies consider the influence of global economy and technological changes during their strategic management process, they should focus on understanding the competitive landscape profile which is a comparative analysis of products between two companies— to understand the strengths and weaknesses.
Edit intent: clarity
Original:  Retrieved from URL It should be taken into consideration the Porter's Five Forces because according to its analysis, Michael Porter establishes that competition depends on 5 specific factors: potential new entrants, internal rivalry, suppliers, buyers and substitutes.
Revised:  Retrieved from URL Porter's Five Forces because according to its analysis, Michael Porter establishes that competition depends on 5 specific factors: potential new entrants, internal rivalry, suppliers, buyers and substitutes.
Edit intent: coherence
Original:  Retrieved from URL It should be taken into consideration the Porter's Five Forces because according to its analysis, Michael Porter establishes that competition depends on 5 specific factors: potential new entrants, internal rivalry, suppliers, buyers and substitutes.
Revised:  Retrieved from URL It should be taken into consideration the Porter's Five Forces are considered because, according to that analysis, Michael Porter establishes that competition depends on 5 specific factors: potential new entrants, internal rivalry, suppliers, buyers and substitutes.
Edit intent: clarity