wanyu/IteraTeR_v2 huggingface dataset:
Original: Major Nasir Uddin, Juddhey Juddhey Swadhinata, pp73 The whole province should not be defended, troops should not be deployed along the border or along the "Forward line  (running north from Khulna-Jessore-Jhenida-Rajshahi-Hili-Rangpur, then east to Jamalpur-Mymensingh-Bhairab-Sylhet, then south to Comilla-Chittahong).
Revised: Major Nasir Uddin, Juddhey Juddhey Swadhinata, pp73 The whole province should not be defended, troops should not be deployed along the border or along the "Forward line " (running north from Khulna-Jessore-Jhenida-Rajshahi-Hili-Rangpur, then east to Jamalpur-Mymensingh-Bhairab-Sylhet, then south to Comilla-Chittahong).
Edit intent: fluency
Original:  The line ran from Pabna in the west to Bera then Sirajganj to the north, then to Mymensing .
Revised:  The line ran from Pabna in the west to Bera then Sirajganj to the north, then to Mymensingh .
Edit intent: clarity
Original: Could someone please explain to me why the memories I shared of Jim's life as a young boy and man were deleted?
Edit intent: clarity
Original: Alaska Native people Category:American people of German descent Category:Artists from Seattle Category:Native American painters Category:Native American sculptors Category:Native American woodcarvers Category:Native American writers Category:Northwest Coast art Category: People from Anchorage, Alaska Category:People from Juneau, Alaska Category:Tlingit people Category:University of Alaska Anchorage alumni Category:University of Alaska Fairbanks faculty Category:University of Washington alum
Revised: Alaska Native people Category:American people of German descent Category:Artists from Seattle Category:Native American painters Category:Native American sculptors Category:Native American woodcarvers Category:Native American writers Category:Northwest Coast art Category: Artists from Anchorage, Alaska Category:People from Juneau, Alaska Category:Tlingit people Category:University of Alaska Anchorage alumni Category:University of Alaska Fairbanks faculty Category:University of Washington alum
Edit intent: fluency
Original:  His work includes carving , painting, poetry  and essays.
Revised:  His work includes carving , painting, poetry , and essays.
Edit intent: fluency
Original:  He has been described as an innovator, that made traditional and contemporary Alaska Native works often pushing the boundaries of what was considered "traditional" Northwest Coast art.
Revised:  He has been described as an innovator, whose works pushed the boundaries of what was considered "traditional" Northwest Coast art.
Edit intent: clarity
Original:  He has been described as an innovator, that made traditional and contemporary Alaska Native works often pushing the boundaries of what was considered "traditional" Northwest Coast art.
Revised:  He has been described as an innovator, that made traditional and contemporary Alaska Native works often pushing the boundaries of what was expected from Northwest Coast art.
Edit intent: clarity
Original:  Throughout his career he was a spokesman for Alaska Native artists and  artists in general.
Revised:  Throughout his career he spoke on behalf of Alaska Native artists and artists in general.
Edit intent: clarity
Original:  Throughout his career he was a spokesman for Alaska Native artists and  artists in general.
Revised:  Throughout his career he was a spokesman for Alaska Native artists and visual artists in general.
Edit intent: clarity
Original:  Having taught at the University of Alaska Fairbanks (UAF) as a guest professor and giving talks and lectures at elementary schools throughout the states of Alaska and Washington , his positive influence was spread through his work and words over the course of his career.
Revised:  He taught at the University of Alaska Fairbanks (UAF) as a guest professor and giving talks and lectures at elementary schools throughout the states of Alaska and Washington , his positive influence was spread through his work and words over the course of his career.
Edit intent: fluency
Original:  Having taught at the University of Alaska Fairbanks (UAF) as a guest professor and giving talks and lectures at elementary schools throughout the states of Alaska and Washington , his positive influence was spread through his work and words over the course of his career.
Revised:  Having taught at the University of Alaska Fairbanks (UAF) as a guest professor and gave presentations and lectures at elementary schools throughout the states of Alaska and Washington , his positive influence was spread through his work and words over the course of his career.
Edit intent: clarity
Original:  Having taught at the University of Alaska Fairbanks (UAF) as a guest professor and giving talks and lectures at elementary schools throughout the states of Alaska and Washington , his positive influence was spread through his work and words over the course of his career.
Revised:  Having taught at the University of Alaska Fairbanks (UAF) as a guest professor and giving talks and lectures at elementary schools throughout the states of Alaska and Washington .
Edit intent: clarity
Original:  This sculpture should have been an indication of things to come as it was a separation from his traditional work which would define him as an artist and create controversy and curiosity in later years.
Revised:  This sculpture should have been an indication of things to come as it was a separation from his customary work which would define him as an artist and create controversy and curiosity in later years.
Edit intent: clarity
Original:  Although he created art using the traditional formline, he chose a different approach for a great deal of his work that did not neatly fit into either contemporary or Northwest Coast art.
Revised:  Although he created art using the formline, he chose a different approach for a great deal of his work that did not neatly fit into either contemporary or Northwest Coast art.
Edit intent: clarity
Original:  Although he created art using the traditional formline, he chose a different approach for a great deal of his work that did not neatly fit into either contemporary or Northwest Coast art.
Revised:  Although he created art using the traditional formline, he chose a different approach for a great deal of his work that did not neatly fit into either maintstream or Northwest Coast art.
Edit intent: fluency
Original:  This mindset is what allowed Schoppert to create his most recognizable pieces which are large carved panels made of multiple planks, painted in non traditional colors and the planks rearranged to create an entirely new look and a break from traditional methods and form line . Examples of this style are seen in his works Teasing Eagle and Raven Opens Box of Stars.
Revised:  This mindset is what allowed Schoppert to create his most recognizable pieces which are large carved panels made of multiple planks, painted in non traditional colors and the planks rearranged to create an entirely new look and a break from established methods and formline . Examples of this style are seen in his works Teasing Eagle and Raven Opens Box of Stars.
Edit intent: clarity
Original:  Schoppert's artwork covered a wide range of techniques such as traditional carving , abstract paintings, drawings, mask making and most notably his large carved panel pieces that are his most recognized .
Revised:  Schoppert's artwork covered a wide range of techniques such as woodcarving , abstract paintings, drawings, mask making and most notably his large carved panel pieces that are his most recognized .
Edit intent: clarity
Original:  Schoppert's artwork covered a wide range of techniques such as traditional carving , abstract paintings, drawings, mask making and most notably his large carved panel pieces that are his most recognized .
Revised:  Schoppert's artwork covered a wide range of techniques such as traditional carving , abstract paintings, drawings, mask making , and, most notably, his large, carved panel pieces that are his most recognized .
Edit intent: fluency
Original:  Schoppert's artwork covered a wide range of techniques such as traditional carving , abstract paintings, drawings, mask making and most notably his large carved panel pieces that are his most recognized .
Revised:  Schoppert's artwork covered a wide range of techniques such as traditional carving , abstract paintings, drawings, mask making and most notably his large carved panel pieces .
Edit intent: coherence
Original:  The wood panel pieces are also what created some controversy over whether his art was contemporary or Northwest Coastal.
Revised:  The wood panel pieces are also what created some controversy over whether his art was mainstream or Northwest Coastal.
Edit intent: clarity
Original:  Schoppert learned that the Tlingit formline that was considered the traditional method was only a relatively recent development among the Northwest Indian.
Revised:  Schoppert learned that the Tlingit formline that was considered the customary method was only a relatively recent development among the Northwest Indian.
Edit intent: clarity
Original:  He went beyond the boundaries of traditional Northwest Coastal art and was a contributor to the evolution of contemporary native art.
Revised:  He went beyond the boundaries of established Northwest Coastal art and was a contributor to the evolution of contemporary native art.
Edit intent: clarity
Original:  He went beyond the boundaries of traditional Northwest Coastal art and was a contributor to the evolution of contemporary native art.
Revised:  He went beyond the boundaries of traditional Northwest Coastal art and was a contributor to the evolution of contemporary Native art.
Edit intent: fluency
Original: Smithsonian National Museum on the American Indian of Change: Retrospective Exhibition 1947-1992 Although Schoppert is best known for his panels, he also produced several pieces that followed traditional methods and formline design.
Revised: Smithsonian National Museum on the American Indian of Change: Retrospective Exhibition 1947-1992 Although Schoppert is best known for his panels, he also produced several pieces that followed conventional methods and formline design.
Edit intent: clarity
Original:  In addition he had several paintings and drawings that incorporate a Native theme, however, show no use of formline , again pushing the boundaries of what was considered "traditional" Northwest Coast art . Exhibitions 1984 –
Revised:  In addition he had several paintings and drawings that incorporate Indigenous subject matter but do not use of formline , again pushing the boundaries of what was considered "traditional" Northwest Coast art . Exhibitions 1984 –
Edit intent: clarity
Original:  In addition he had several paintings and drawings that incorporate a Native theme, however, show no use of formline , again pushing the boundaries of what was considered "traditional" Northwest Coast art . Exhibitions 1984 –
Revised:  In addition he had several paintings and drawings that incorporate a Native theme, however, show no use of formline . Exhibitions 1984 –
Edit intent: clarity
Original:  In addition he had several paintings and drawings that incorporate a Native theme, however, show no use of formline , again pushing the boundaries of what was considered "traditional" Northwest Coast art . Exhibitions 1984 –
Revised:  In addition he had several paintings and drawings that incorporate a Native theme, however, show no use of formline , again pushing the boundaries of what was considered "traditional" Northwest Coast art . Exhibitions 1984 :
Edit intent: fluency
Original:  "The New Native American Aesthetic", Marilyn Butler Gallery, Santa Fe 1984 – C. N. Gorman Museum, University of California, Davis 1985 – "New Ideas from Old Traditions", Yellowstone Arts Center 1985 – North Central Washington Museum, Juneau 1985 – "Visage Transcended: Contemporary Native American Masks", American Indian Contemporary Arts Gallery, San Francisco 1985 – Second Biennial Invitational, Heard Museum, Phoenix 1986 – "What is Native American Art?'
Revised:  "The New Native American Aesthetic", Marilyn Butler Gallery, Santa Fe 1984 : C. N. Gorman Museum, University of California, Davis 1985 – "New Ideas from Old Traditions", Yellowstone Arts Center 1985 – North Central Washington Museum, Juneau 1985 – "Visage Transcended: Contemporary Native American Masks", American Indian Contemporary Arts Gallery, San Francisco 1985 – Second Biennial Invitational, Heard Museum, Phoenix 1986 – "What is Native American Art?'
Edit intent: fluency
Original:  "The New Native American Aesthetic", Marilyn Butler Gallery, Santa Fe 1984 – C. N. Gorman Museum, University of California, Davis 1985 – "New Ideas from Old Traditions", Yellowstone Arts Center 1985 – North Central Washington Museum, Juneau 1985 – "Visage Transcended: Contemporary Native American Masks", American Indian Contemporary Arts Gallery, San Francisco 1985 – Second Biennial Invitational, Heard Museum, Phoenix 1986 – "What is Native American Art?'
Revised:  "The New Native American Aesthetic", Marilyn Butler Gallery, Santa Fe 1984 – C. N. Gorman Museum, University of California, Davis 1985 : "New Ideas from Old Traditions", Yellowstone Arts Center 1985 – North Central Washington Museum, Juneau 1985 – "Visage Transcended: Contemporary Native American Masks", American Indian Contemporary Arts Gallery, San Francisco 1985 – Second Biennial Invitational, Heard Museum, Phoenix 1986 – "What is Native American Art?'
Edit intent: fluency
Original:  "The New Native American Aesthetic", Marilyn Butler Gallery, Santa Fe 1984 – C. N. Gorman Museum, University of California, Davis 1985 – "New Ideas from Old Traditions", Yellowstone Arts Center 1985 – North Central Washington Museum, Juneau 1985 – "Visage Transcended: Contemporary Native American Masks", American Indian Contemporary Arts Gallery, San Francisco 1985 – Second Biennial Invitational, Heard Museum, Phoenix 1986 – "What is Native American Art?'
Revised:  "The New Native American Aesthetic", Marilyn Butler Gallery, Santa Fe 1984 – C. N. Gorman Museum, University of California, Davis 1985 – "New Ideas from Old Traditions", Yellowstone Arts Center 1985 : North Central Washington Museum, Juneau 1985 – "Visage Transcended: Contemporary Native American Masks", American Indian Contemporary Arts Gallery, San Francisco 1985 – Second Biennial Invitational, Heard Museum, Phoenix 1986 – "What is Native American Art?'
Edit intent: fluency
Original:  "The New Native American Aesthetic", Marilyn Butler Gallery, Santa Fe 1984 – C. N. Gorman Museum, University of California, Davis 1985 – "New Ideas from Old Traditions", Yellowstone Arts Center 1985 – North Central Washington Museum, Juneau 1985 – "Visage Transcended: Contemporary Native American Masks", American Indian Contemporary Arts Gallery, San Francisco 1985 – Second Biennial Invitational, Heard Museum, Phoenix 1986 – "What is Native American Art?'
Revised:  "The New Native American Aesthetic", Marilyn Butler Gallery, Santa Fe 1984 – C. N. Gorman Museum, University of California, Davis 1985 – "New Ideas from Old Traditions", Yellowstone Arts Center 1985 – North Central Washington Museum, Juneau 1985 : "Visage Transcended: Contemporary Native American Masks", American Indian Contemporary Arts Gallery, San Francisco 1985 – Second Biennial Invitational, Heard Museum, Phoenix 1986 – "What is Native American Art?'
Edit intent: fluency
Original:  "The New Native American Aesthetic", Marilyn Butler Gallery, Santa Fe 1984 – C. N. Gorman Museum, University of California, Davis 1985 – "New Ideas from Old Traditions", Yellowstone Arts Center 1985 – North Central Washington Museum, Juneau 1985 – "Visage Transcended: Contemporary Native American Masks", American Indian Contemporary Arts Gallery, San Francisco 1985 – Second Biennial Invitational, Heard Museum, Phoenix 1986 – "What is Native American Art?'
Revised:  "The New Native American Aesthetic", Marilyn Butler Gallery, Santa Fe 1984 – C. N. Gorman Museum, University of California, Davis 1985 – "New Ideas from Old Traditions", Yellowstone Arts Center 1985 – North Central Washington Museum, Juneau 1985 – "Visage Transcended: Contemporary Native American Masks", American Indian Contemporary Arts Gallery, San Francisco 1985 : Second Biennial Invitational, Heard Museum, Phoenix 1986 – "What is Native American Art?'
Edit intent: fluency
Original:  "The New Native American Aesthetic", Marilyn Butler Gallery, Santa Fe 1984 – C. N. Gorman Museum, University of California, Davis 1985 – "New Ideas from Old Traditions", Yellowstone Arts Center 1985 – North Central Washington Museum, Juneau 1985 – "Visage Transcended: Contemporary Native American Masks", American Indian Contemporary Arts Gallery, San Francisco 1985 – Second Biennial Invitational, Heard Museum, Phoenix 1986 – "What is Native American Art?'
Revised:  "The New Native American Aesthetic", Marilyn Butler Gallery, Santa Fe 1984 – C. N. Gorman Museum, University of California, Davis 1985 – "New Ideas from Old Traditions", Yellowstone Arts Center 1985 – North Central Washington Museum, Juneau 1985 – "Visage Transcended: Contemporary Native American Masks", American Indian Contemporary Arts Gallery, San Francisco 1985 – Second Biennial Invitational, Heard Museum, Phoenix 1986 : "What is Native American Art?'
Edit intent: fluency
Original: " 1989 – "Native American Expressions of Surrealism", Sacred Circle Gallery, Seattle 1990 –
Revised: " 1989 : "Native American Expressions of Surrealism", Sacred Circle Gallery, Seattle 1990 –
Edit intent: fluency
Original: " 1989 – "Native American Expressions of Surrealism", Sacred Circle Gallery, Seattle 1990 –
Revised: " 1989 – "Native American Expressions of Surrealism", Sacred Circle Gallery, Seattle 1990 :
Edit intent: fluency
Original:  "Northern Lights", SunRunner, Ojai  1990 –
Revised:  "Northern Lights", SunRunner, Ojai , CA 1990 –
Edit intent: clarity
Original:  "Northern Lights", SunRunner, Ojai  1990 –
Revised:  "Northern Lights", SunRunner, Ojai 1990 :
Edit intent: fluency
Original:  "Eleven Stories", Sacred Circle Gallery, Seattle 1991 – "Eleventh Anniversary Show", Stonington Gallery, Seattle 1991 – "Raw Materials", Sacred Circle Gallery, Seattle 1991 – "A Northern Perspectives", The Legacy Ltd., Seattle 1992 – "Salmon:Ritual and Resource . " Stonington Gallery, Seattle 1992 – "Visions of Alaska", Denise Wallace Gallery, Santa Fe 1992 – "Instrument of Change: Retrospective Exhibition", Smithsonian National Museum of the American Indian %DIFDELCMD < ] %%%  New York City
Revised:  "Eleven Stories", Sacred Circle Gallery, Seattle 1991 : "Eleventh Anniversary Show", Stonington Gallery, Seattle 1991 – "Raw Materials", Sacred Circle Gallery, Seattle 1991 – "A Northern Perspectives", The Legacy Ltd., Seattle 1992 – "Salmon:Ritual and Resource . " Stonington Gallery, Seattle 1992 – "Visions of Alaska", Denise Wallace Gallery, Santa Fe 1992 – "Instrument of Change: Retrospective Exhibition", Smithsonian National Museum of the American Indian %DIFDELCMD < ] %%% New York City
Edit intent: fluency
Original:  "Eleven Stories", Sacred Circle Gallery, Seattle 1991 – "Eleventh Anniversary Show", Stonington Gallery, Seattle 1991 – "Raw Materials", Sacred Circle Gallery, Seattle 1991 – "A Northern Perspectives", The Legacy Ltd., Seattle 1992 – "Salmon:Ritual and Resource . " Stonington Gallery, Seattle 1992 – "Visions of Alaska", Denise Wallace Gallery, Santa Fe 1992 – "Instrument of Change: Retrospective Exhibition", Smithsonian National Museum of the American Indian %DIFDELCMD < ] %%%  New York City
Revised:  "Eleven Stories", Sacred Circle Gallery, Seattle 1991 – "Eleventh Anniversary Show", Stonington Gallery, Seattle 1991 : "Raw Materials", Sacred Circle Gallery, Seattle 1991 – "A Northern Perspectives", The Legacy Ltd., Seattle 1992 – "Salmon:Ritual and Resource . " Stonington Gallery, Seattle 1992 – "Visions of Alaska", Denise Wallace Gallery, Santa Fe 1992 – "Instrument of Change: Retrospective Exhibition", Smithsonian National Museum of the American Indian %DIFDELCMD < ] %%% New York City
Edit intent: fluency
Original:  "Eleven Stories", Sacred Circle Gallery, Seattle 1991 – "Eleventh Anniversary Show", Stonington Gallery, Seattle 1991 – "Raw Materials", Sacred Circle Gallery, Seattle 1991 – "A Northern Perspectives", The Legacy Ltd., Seattle 1992 – "Salmon:Ritual and Resource . " Stonington Gallery, Seattle 1992 – "Visions of Alaska", Denise Wallace Gallery, Santa Fe 1992 – "Instrument of Change: Retrospective Exhibition", Smithsonian National Museum of the American Indian %DIFDELCMD < ] %%%  New York City
Revised:  "Eleven Stories", Sacred Circle Gallery, Seattle 1991 – "Eleventh Anniversary Show", Stonington Gallery, Seattle 1991 – "Raw Materials", Sacred Circle Gallery, Seattle 1991 : "A Northern Perspectives", The Legacy Ltd., Seattle 1992 – "Salmon:Ritual and Resource . " Stonington Gallery, Seattle 1992 – "Visions of Alaska", Denise Wallace Gallery, Santa Fe 1992 – "Instrument of Change: Retrospective Exhibition", Smithsonian National Museum of the American Indian %DIFDELCMD < ] %%% New York City
Edit intent: fluency
Original:  "Eleven Stories", Sacred Circle Gallery, Seattle 1991 – "Eleventh Anniversary Show", Stonington Gallery, Seattle 1991 – "Raw Materials", Sacred Circle Gallery, Seattle 1991 – "A Northern Perspectives", The Legacy Ltd., Seattle 1992 – "Salmon:Ritual and Resource . " Stonington Gallery, Seattle 1992 – "Visions of Alaska", Denise Wallace Gallery, Santa Fe 1992 – "Instrument of Change: Retrospective Exhibition", Smithsonian National Museum of the American Indian %DIFDELCMD < ] %%%  New York City
Revised:  "Eleven Stories", Sacred Circle Gallery, Seattle 1991 – "Eleventh Anniversary Show", Stonington Gallery, Seattle 1991 – "Raw Materials", Sacred Circle Gallery, Seattle 1991 – "A Northern Perspectives", The Legacy Ltd., Seattle 1992 : "Salmon:Ritual and Resource . " Stonington Gallery, Seattle 1992 – "Visions of Alaska", Denise Wallace Gallery, Santa Fe 1992 – "Instrument of Change: Retrospective Exhibition", Smithsonian National Museum of the American Indian %DIFDELCMD < ] %%% New York City
Edit intent: fluency
Original:  "Eleven Stories", Sacred Circle Gallery, Seattle 1991 – "Eleventh Anniversary Show", Stonington Gallery, Seattle 1991 – "Raw Materials", Sacred Circle Gallery, Seattle 1991 – "A Northern Perspectives", The Legacy Ltd., Seattle 1992 – "Salmon:Ritual and Resource . " Stonington Gallery, Seattle 1992 – "Visions of Alaska", Denise Wallace Gallery, Santa Fe 1992 – "Instrument of Change: Retrospective Exhibition", Smithsonian National Museum of the American Indian %DIFDELCMD < ] %%%  New York City
Revised:  "Eleven Stories", Sacred Circle Gallery, Seattle 1991 – "Eleventh Anniversary Show", Stonington Gallery, Seattle 1991 – "Raw Materials", Sacred Circle Gallery, Seattle 1991 – "A Northern Perspectives", The Legacy Ltd., Seattle 1992 – "Salmon:Ritual and Resource , " Stonington Gallery, Seattle 1992 – "Visions of Alaska", Denise Wallace Gallery, Santa Fe 1992 – "Instrument of Change: Retrospective Exhibition", Smithsonian National Museum of the American Indian %DIFDELCMD < ] %%% New York City
Edit intent: fluency
Original:  "Eleven Stories", Sacred Circle Gallery, Seattle 1991 – "Eleventh Anniversary Show", Stonington Gallery, Seattle 1991 – "Raw Materials", Sacred Circle Gallery, Seattle 1991 – "A Northern Perspectives", The Legacy Ltd., Seattle 1992 – "Salmon:Ritual and Resource . " Stonington Gallery, Seattle 1992 – "Visions of Alaska", Denise Wallace Gallery, Santa Fe 1992 – "Instrument of Change: Retrospective Exhibition", Smithsonian National Museum of the American Indian %DIFDELCMD < ] %%%  New York City
Revised:  "Eleven Stories", Sacred Circle Gallery, Seattle 1991 – "Eleventh Anniversary Show", Stonington Gallery, Seattle 1991 – "Raw Materials", Sacred Circle Gallery, Seattle 1991 – "A Northern Perspectives", The Legacy Ltd., Seattle 1992 – "Salmon:Ritual and Resource . " Stonington Gallery, Seattle 1992 : "Visions of Alaska", Denise Wallace Gallery, Santa Fe 1992 – "Instrument of Change: Retrospective Exhibition", Smithsonian National Museum of the American Indian %DIFDELCMD < ] %%% New York City
Edit intent: fluency