wanyu/IteraTeR_v2 huggingface dataset:
Original:  Jésus vu par un musulman (  Jesus, as Viewed by a Muslim , 1976) Petit Bodiel (conte peul) et version en prose de Kaïdara (  Little Bodiel (a Fula tale) and a prose version of Kaïdara , 1977) Njeddo Dewal, mère de la calamité (  Njeddo Dewal, Mother of Calamity , 1985, Fula fantasy tale) La poignée de poussière, contes et récits du Mali (  A Handful of Dust, Malian Stories , 1987)  Amkoullel, l'enfant peul (  Amkoullel, the Fula Child , 1991, the first part of his memoir) Oui mon commandant!
Revised:  Jésus vu par un musulman ( Jesus, as Viewed by a Muslim , 1976) Petit Bodiel (conte peul) et version en prose de Kaïdara ( Little Bodiel (a Fula tale) and a prose version of Kaïdara , 1977) Njeddo Dewal, mère de la calamité ( Njeddo Dewal, Mother of Calamity , 1985, Fula fantasy tale) La poignée de poussière, contes et récits du Mali ( A Handful of Dust, Malian Stories , 1987) Memoirs Amkoullel, l'enfant peul ( Amkoullel, the Fula Child , 1991, the first part of his memoir) Oui mon commandant!
Edit intent: clarity
Original:  Jésus vu par un musulman (  Jesus, as Viewed by a Muslim , 1976) Petit Bodiel (conte peul) et version en prose de Kaïdara (  Little Bodiel (a Fula tale) and a prose version of Kaïdara , 1977) Njeddo Dewal, mère de la calamité (  Njeddo Dewal, Mother of Calamity , 1985, Fula fantasy tale) La poignée de poussière, contes et récits du Mali (  A Handful of Dust, Malian Stories , 1987)  Amkoullel, l'enfant peul (  Amkoullel, the Fula Child , 1991, the first part of his memoir) Oui mon commandant!
Revised:  Jésus vu par un musulman ( Jesus, as Viewed by a Muslim , 1976) Petit Bodiel (conte peul) et version en prose de Kaïdara ( Little Bodiel (a Fula tale) and a prose version of Kaïdara , 1977) Njeddo Dewal, mère de la calamité ( Njeddo Dewal, Mother of Calamity , 1985, Fula fantasy tale) La poignée de poussière, contes et récits du Mali ( A Handful of Dust, Malian Stories , 1987) Amkoullel, l'enfant peul ( 1991)— Amkoullel, the Fula Child , 1991, the first part of his memoir) Oui mon commandant!
Edit intent: fluency
Original:  Jésus vu par un musulman (  Jesus, as Viewed by a Muslim , 1976) Petit Bodiel (conte peul) et version en prose de Kaïdara (  Little Bodiel (a Fula tale) and a prose version of Kaïdara , 1977) Njeddo Dewal, mère de la calamité (  Njeddo Dewal, Mother of Calamity , 1985, Fula fantasy tale) La poignée de poussière, contes et récits du Mali (  A Handful of Dust, Malian Stories , 1987)  Amkoullel, l'enfant peul (  Amkoullel, the Fula Child , 1991, the first part of his memoir) Oui mon commandant!
Revised:  Jésus vu par un musulman ( Jesus, as Viewed by a Muslim , 1976) Petit Bodiel (conte peul) et version en prose de Kaïdara ( Little Bodiel (a Fula tale) and a prose version of Kaïdara , 1977) Njeddo Dewal, mère de la calamité ( Njeddo Dewal, Mother of Calamity , 1985, Fula fantasy tale) La poignée de poussière, contes et récits du Mali ( A Handful of Dust, Malian Stories , 1987) Amkoullel, l'enfant peul ( Amkoullel, the Fula Child Oui mon commandant!
Edit intent: coherence
Original:  (  Yes, My Commander , 1994, the second part of his memoir) were published posthumously External links webPulaaku.
Revised:  ( 1994)— Yes, My Commander , 1994, the second part of his memoir) were published posthumously External links webPulaaku.
Edit intent: fluency
Original:  (  Yes, My Commander , 1994, the second part of his memoir) were published posthumously External links webPulaaku.
Revised:  ( Yes, My Commander (published posthumously) External links webPulaaku.
Edit intent: coherence
Original:  UNESCO Courier '' , January 1992.
Revised:  UNESCO Courier , January 1992.
Edit intent: fluency
Original: They are not binding on member states but must be taken into consideration in setting national  limits.
Revised: They are not binding on member states but must be taken into consideration in setting national occupational exposure limits.
Edit intent: clarity
Original:  Dikshith Diwan (2003) p.189 A second list was defined in directive 96/94/EEC but this was repealed by directive 2000/39/EC.
Revised:  Diwan (2003) p.189 A second list was defined in directive 96/94/EEC but this was repealed by directive 2000/39/EC.
Edit intent: coherence
Original:  Dikshith Diwan (2003) p.189 A second list was defined in directive 96/94/EEC but this was repealed by directive 2000/39/EC.
Revised:  Dikshith A second list was defined in directive 96/94/EEC but this was repealed by directive 2000/39/EC.
Edit intent: coherence
Original: Dikshith & Diwan (2003) p.191  
Revised: Dikshith & Diwan (2003) p.191 Walters 
Edit intent: fluency
Original:  As of 2008 , the IOELVs under directive 91/322/EC remain in force but under review.
Revised:  , the IOELVs under directive 91/322/EC remain in force but under review.
Edit intent: coherence
Original:   Contemporary political leader Moumouni Adamou Djermakoye, a member of the Djerma aristocracy, is one example of this . References James Decalo.
Revised:  Contemporary political leader Moumouni Adamou Djermakoye, a member of the Djerma aristocracy, also carries the title Djermakoye . References James Decalo.
Edit intent: clarity
Original: The Djermakoy (var.  Zarmakoy, Djermakoye) is the title given to rulers of the Djerma/Zarma states in what is now southwest Niger.
Revised: The Djermakoy (var. Zermakoy, Zarmakoy, Djermakoye) is the title given to rulers of the Djerma/Zarma states in what is now southwest Niger.
Edit intent: fluency
Original:  From the 1890s, the Djermakoy of the Dosso Kingdom came to dominate the entire Djerma area, and remaining local Djermakoy owed allegence to him.
Revised:  From the 1890s, the Djermakoy of the Dosso Kingdom came to dominate the entire Djerma area, and remaining local Djermakoy owed allegiance to him.
Edit intent: fluency
Original:  Djermakoye Issoufou Seydou played a leading role in Nigerien politics at the time of independece as a founder of the PPN, and later the UNIS parties, and as Vice-President and Minister of Justice from December 1958-October 1959, various ministerial posts from 1961-1965, Nigerien Ambassador to the United Nations and three postings as a Deputy Secretary General of the United Nations.
Revised:  Djermakoye Issoufou Seydou played a leading role in Nigerien politics at the time of independence as a founder of the PPN, and later the UNIS parties, and as Vice-President and Minister of Justice from December 1958-October 1959, various ministerial posts from 1961-1965, Nigerien Ambassador to the United Nations and three postings as a Deputy Secretary General of the United Nations.
Edit intent: fluency
Original: Dramaturgy is a sociological perspective commonly used in microsociological accounts of social interaction in everyday life.
Revised: Dramaturgy is a sociological perspective commonly used in micro-sociological accounts of social interaction in everyday life.
Edit intent: fluency
Original:  Kenneth Burke, whom Goffman would later acknowledge as an influence,Mitchell, J. N. (1978).
Revised:  Kenneth Burke, whom Goffman would later acknowledge as an influence,Mitchell, J. N. 1978.
Edit intent: coherence
Original:  However, the fundamental difference between Burke's and Goffman's view  is that Burke believed that life was in fact theatre, whereas Goffman viewed theatre as a metaphor.
Revised:  The fundamental difference between Burke's and Goffman's view is that Burke believed that life was in fact theatre, whereas Goffman viewed theatre as a metaphor.
Edit intent: coherence
Original:  However, the fundamental difference between Burke's and Goffman's view  is that Burke believed that life was in fact theatre, whereas Goffman viewed theatre as a metaphor.
Revised:  However, the fundamental difference between Burke's and Goffman's view , however, is that Burke believed that life was in fact theatre, whereas Goffman viewed theatre as a metaphor.
Edit intent: coherence
Original:  In dramaturgical sociology  it is argued that the elements of human interactions are dependent upon time, place, and audience.
Revised:  In dramaturgical sociology , it is argued that the elements of human interactions are dependent upon time, place, and audience.
Edit intent: fluency
Original:  George Ritzer(2007) Contemporary Sociological Theory and Its Classical Roots: The Basics.
Revised:  Ritzer, George. 2007. Contemporary Sociological Theory and Its Classical Roots: The Basics.
Edit intent: clarity
Original:  New York , New York.
Revised:  New York :
Edit intent: fluency
Original:  In addition to Erving Goffman, this concept has been used by Jürgen Habermas and Harold Garfinkel, among others.
Revised:  In addition to Goffman, this concept has been used by Jürgen Habermas and Harold Garfinkel, among others.
Edit intent: clarity
Original:   Dramaturgical perspective Dramaturgical perspective  is one of several sociological paradigms separated from other sociological theories because it does not examine the cause of human behavior but it analyzes the context.
Revised:  Dramaturgical perspective Dramaturgical perspective Dramaturgical perspective is one of several sociological paradigms separated from other sociological theories because it does not examine the cause of human behavior but it analyzes the context.
Edit intent: fluency
Original:   Dramaturgical perspective Dramaturgical perspective  is one of several sociological paradigms separated from other sociological theories because it does not examine the cause of human behavior but it analyzes the context.
Revised:  Dramaturgical perspective Dramaturgical perspective is one of several sociological paradigms separated from other sociological theories because it does not examine the cause of human behavior , it analyzes the context.
Edit intent: coherence
Original:  In Frame Analysis ,Goffman, E. (1974) .
Revised:  In Frame Analysis (1974) .
Edit intent: clarity
Original:  Cambridge, MA: Harvard University Goffman writes, "What is important is the sense he [a person or actor] provides them [the others or audience] through his dealing with them of what sort of person he is behind the role he is in  " (p. 298).
Revised:  Cambridge, MA: Harvard University Goffman writes, "What is important is the sense he [a person or actor] provides them [the others or audience] through his dealing with them of what sort of person he is behind the role he is in . " (p. 298).
Edit intent: fluency
Original:  The dramaturgical perspective can be seen as an anchor to this perspective, where the individual's identity is performed through role(s) , and consensus between the actor and the audience.
Revised:  The dramaturgical perspective can be seen as an anchor to this perspective, wherein the individual's identity is performed through role(s) , and consensus between the actor and the audience.
Edit intent: fluency
Original:  The dramaturgical perspective can be seen as an anchor to this perspective, where the individual's identity is performed through role(s) , and consensus between the actor and the audience.
Revised:  The dramaturgical perspective can be seen as an anchor to this perspective, where the individual's identity is performed through role(s) and consensus between the actor and the audience.
Edit intent: fluency
Original:  It is termed as the "fully two-sided view of human interaction ". Dramaturgical theory suggests that a person's identity is not a stable and independent psychological entity, but rather, it is constantly remade as the person interacts with others. %DIFDELCMD < %DIFDELCMD < %%% In a dramaturgical model, social interaction is analyzed in terms of how people live their lives like actors performing on a stage.
Revised:  It is termed as the "fully two-sided view of human interaction ." Dramaturgical theory suggests that a person's identity is not a stable and independent psychological entity, but rather, it is constantly remade as the person interacts with others. %DIFDELCMD < %DIFDELCMD < %%% In a dramaturgical model, social interaction is analyzed in terms of how people live their lives like actors performing on a stage.
Edit intent: fluency
Original: Macionis, J. J., Gerber, L. M. (2011).
Revised: Macionis, Gerber, L. M. (2011).
Edit intent: coherence
Original:  Toronto: Pearson Canada .
Revised:  Toronto: Pearson Canada Inc.
Edit intent: clarity
Original:  A status is like a part in a play , and a role serves as a script, supplying dialogue and action for the characters.
Revised:  A status is like a part in a play ; and role, which serves as a script, supplying dialogue and action for the characters.
Edit intent: coherence
Original:  As on the stage, people in their everyday lives manage settings, clothing, words, and nonverbal actions to give a particular impression to others.
Revised:  Just as on the stage, people in their everyday lives manage settings, clothing, words, and nonverbal actions to give a particular impression to others.
Edit intent: fluency
Original:  Goffman described each individual's "performance" as the presentation of self , a person's efforts to create specific impressions in the minds of others.
Revised:  Goffman described each individual's "performance" as the presentation of self ; a person's efforts to create specific impressions in the minds of others.
Edit intent: fluency
Original:  This process is sometimes called "impression management".
Revised:  This process is also sometimes called impression management.
Edit intent: clarity
Original:  As the term/concept implies, "front stage" actions are visible to the audience and are part of the performance . People engage in "back stage " behaviors when no audience is present.
Revised:  As the term/concept implies, "front stage" actions are visible to the audience and are part of the performance ; and back stage behavior, which are actions that people engage in when no audience is present.
Edit intent: coherence
Original:  These roles are subject to what is in theater termed "breaking character" . Inopportune intrusions may occur , in which a backstage performance is interrupted by someone who is not meant to see it.
Revised:  These roles are subject to what is , in theater, termed breaking character . Inopportune intrusions may occur , in which a backstage performance is interrupted by someone who is not meant to see it.
Edit intent: fluency
Original:  These roles are subject to what is in theater termed "breaking character" . Inopportune intrusions may occur , in which a backstage performance is interrupted by someone who is not meant to see it.
Revised:  These roles are subject to what is in theater termed "breaking character" . Inopportune intrusions may occur in which a backstage performance is interrupted by someone who is not meant to see it.
Edit intent: fluency
Original:   ] Performance There are seven important elements Goffman identifies with respect to the performance: Belief in the part  one is playing  is important, even if it cannot be judged by others .
Revised:  ] Performance There are seven important elements Goffman identifies with respect to the performance: Belief in the part that one is playing is important, even if it cannot be judged by others .
Edit intent: clarity
Original:   ] Performance There are seven important elements Goffman identifies with respect to the performance: Belief in the part  one is playing  is important, even if it cannot be judged by others .
Revised:  ] Performance There are seven important elements Goffman identifies with respect to the performance: Belief in the part one is playing : Belief is important, even if it cannot be judged by others .
Edit intent: fluency
Original:  The front or 'the mask' is a standardized, generalizable  and transferable technique for the performer to control the manner in which the audience perceives him or her.
Revised:  The front or 'the mask' is a standardized, generalizable , and transferable technique for the performer to control the manner in which the audience perceives him or her.
Edit intent: fluency
Original:  Dramatic realizationis a portrayal of aspects of the performer that s/he wants the audience to know.
Revised:  Dramatic realizationis a portrayal of aspects of the performer that they want the audience to know.
Edit intent: clarity
Original:  When the performer wants to stress something, s/he will carry on the dramatic realization.
Revised:  When the performer wants to stress something, they will carry on the dramatic realization.
Edit intent: clarity
Original:  A performance often presents an idealized view of the situation to avoid confusion (misrepresentation) and strengthen other elements (  fronts, dramatic realization).
Revised:  A performance often presents an idealized view of the situation to avoid confusion (misrepresentation) and strengthen other elements ( e.g., fronts, dramatic realization).
Edit intent: clarity
Original:  Audiences often have an 'idea' of what a given situation (performance) should look like  and performers will try to carry out the performance according to that idea.
Revised:  Audiences often have an 'idea' of what a given situation (performance) should look like , and performers will try to carry out the performance according to that idea.
Edit intent: fluency
Original:  Maintenance of expressive control refers to the need to stay 'in character'.
Revised:  Maintenance of expressive control : the need to stay 'in character'.
Edit intent: coherence
Original:  The performance has to make sure that s/he sends out the correct signals and quiets the occasional compulsion to convey misleading ones that might detract from the performance.
Revised:  The performance has to make sure that they send out the correct signals and quiets the occasional compulsion to convey misleading ones that might detract from the performance.
Edit intent: clarity
Original:  The performance has to make sure that s/he sends out the correct signals and quiets the occasional compulsion to convey misleading ones that might detract from the performance.
Revised:  The performance has to make sure that s/he sends out the correct signals , as well as silencing the occasional compulsion to convey misleading ones that might detract from the performance.
Edit intent: coherence
Original:  Misrepresentation refers to the danger of conveying a wrong message.
Revised:  Misrepresentation : the danger of conveying a wrong message.
Edit intent: clarity
Original:  Mystification refers to the concealment of certain information from the audience, whether to increase the audience's interest in the user or to avoid divulging information which could be damaging to the performer.
Revised:  Mystification : the concealment of certain information from the audience, whether to increase the audience's interest in the user or to avoid divulging information which could be damaging to the performer.
Edit intent: coherence
Original:  There are three stages: front, back  and outside.
Revised:  There are three stages: front, back , and outside.
Edit intent: fluency
Original:  Front stage Within society we are expected to present ourselves in a certain way , however, when a person goes against the norm  society tends to notice.
Revised:  Front stage Within society , individuals are expected to present ourselves in a certain way , however, when a person goes against the norm society tends to notice.
Edit intent: clarity
Original:  Front stage Within society we are expected to present ourselves in a certain way , however, when a person goes against the norm  society tends to notice.
Revised:  Front stage Within society we are expected to present themselves in a certain way , however, when a person goes against the norm society tends to notice.
Edit intent: fluency
Original:  Front stage Within society we are expected to present ourselves in a certain way , however, when a person goes against the norm  society tends to notice.
Revised:  Front stage Within society we are expected to present ourselves in a certain way ; however, when a person goes against the norm society tends to notice.
Edit intent: fluency
Original:  Front stage Within society we are expected to present ourselves in a certain way , however, when a person goes against the norm  society tends to notice.
Revised:  Front stage Within society we are expected to present ourselves in a certain way , however, when a person goes against the norm , society tends to notice.
Edit intent: fluency
Original:  Therefore, we are expected to put on a costume and act different when in front of the audience . Goffman noticed this habit of society and developed the idea of front stage.
Revised:  Therefore, individuals are expected to put on a costume and act different when in front of the audience . Goffman noticed this habit of society and developed the idea of front stage.
Edit intent: clarity
Original:  Therefore, we are expected to put on a costume and act different when in front of the audience . Goffman noticed this habit of society and developed the idea of front stage.
Revised:  Therefore, we are expected to put on a costume and act differently when in front of the audience . Goffman noticed this habit of society and developed the idea of front stage.
Edit intent: fluency
Original:  Therefore, we are expected to put on a costume and act different when in front of the audience . Goffman noticed this habit of society and developed the idea of front stage.
Revised:  Therefore, we are expected to put on a costume and act different when in front of the 'audience' . Goffman noticed this habit of society and developed the idea of front stage.
Edit intent: fluency
Original:  Front, then, is the expressive equipment of a standard kind intentionally or unwittingly employed by the individual during his performance  " (486).
Revised:  Front, then, is the expressive equipment of a standard kind intentionally or unwittingly employed by the individual during his performance . " (486).
Edit intent: fluency
Original:  The actor knows he or she is being watched and acts accordingly.
Revised:  The actor knows that they are being watched and acts accordingly.
Edit intent: clarity
Original:  This concept can be seen in the 2005 film Waiting.
Revised:  This concept can be seen in the film Waiting.
Edit intent: clarity
Original:  Goffman says  that the front stage involves a differentiation between setting and personal front .
Revised:  that the front stage involves a differentiation between setting and personal front .
Edit intent: coherence
Original:  Goffman says  that the front stage involves a differentiation between setting and personal front .
Revised:  Goffman says Goffman explains that the front stage involves a differentiation between setting and personal front .
Edit intent: clarity
Original:  Appearance  refers to the items of the personal front that are a reflection of the actor's social status . Manner refers to the way an actor conducts themselves.
Revised:  Appearance appearance, which refers to the items of the personal front that are a reflection of the actor's social status . Manner refers to the way an actor conducts themselves.
Edit intent: coherence
Original:  Appearance  refers to the items of the personal front that are a reflection of the actor's social status . Manner refers to the way an actor conducts themselves.
Revised:  Appearance refers to the items of the personal front that are a reflection of the actor's social status ; and manners, which refers to the way an actor conducts themselves.
Edit intent: coherence
Original:  The actor's manner tells the audience what to expect from his performance.
Revised:  The actor's manner tells the audience what to expect from their performance.
Edit intent: fluency
Original:  Back stage Goffman's definition of backstage from his book The Presentation of Self in Everyday Life states that the back stage is where "the performer can relax;
Revised:  Back stage In The Presentation of Self in Everyday Life states that the back stage is where "the performer can relax;
Edit intent: clarity
Original:  Back stage Goffman's definition of backstage from his book The Presentation of Self in Everyday Life states that the back stage is where "the performer can relax;
Revised:  Back stage Goffman's definition of backstage from his book The Presentation of Self in Everyday Life , Goffman explains that the back stage is where "the performer can relax;
Edit intent: clarity