wanyu/IteraTeR_v2 huggingface dataset:
Original:  ; ; 26 June 1797 – 4 February 1871) nicknamed the Nightmare of Russia was the political, military, and spiritual leader of Caucasian resistance to Imperial Russia in the 1800s, the third Imam of the Caucasian Imamate (1840–1859), and a Sunni Muslim Shaykh of the Naqshbandi Sufi Tariqa.
Revised:  ; ; 26 June 1797 – 4 February 1871) was the political, military, and spiritual leader of Caucasian resistance to Imperial Russia in the 1800s, the third Imam of the Caucasian Imamate (1840–1859), and a Sunni Muslim Shaykh of the Naqshbandi Sufi Tariqa.
Edit intent: clarity
Original: Count Mikhail Semyonovich Vorontsov detailing the plan to cut away Chechnya from the URL Legacy Russian historiography While Russia had managed to conquer Chechnya and Dagestan in a series of bloody conquest,
Revised: Count Mikhail Semyonovich Vorontsov detailing the plan to cut away Chechnya from the Imamate: Legacy Russian historiography While Russia had managed to conquer Chechnya and Dagestan in a series of bloody conquest,
Edit intent: fluency
Original:  Russians had developed a great respect for URL Tsar Alexander II of Russia had openly admired his resistance, thus in the later part of his life, Shamil was permitted for Hajj by the Russian URL Thus, Shamil had largely escaped from the demonization of other Caucasian leaders in Russian historiography.
Revised:  Russians had developed a great respect for Shamil. Tsar Alexander II of Russia had openly admired his resistance, thus in the later part of his life, Shamil was permitted for Hajj by the Russian URL Thus, Shamil had largely escaped from the demonization of other Caucasian leaders in Russian historiography.
Edit intent: fluency
Original:  He is regarded as one of the revered warrior figures in Russia and is frequently studied by Russian academia despite his defiance to Russian URL
Revised:  He is regarded as one of the revered warrior figures in Russia and is frequently studied by Russian academia despite his defiance to Russian power.
Edit intent: clarity
Original: Imam Shamil was born in 1797 into an Avar Muslim family however , there are also sources who say that he has a paternal Kumyk lineage.
Revised: Imam Shamil was born in 1797 into an Avar Muslim family . However , there are also sources who say that he has a paternal Kumyk lineage.
Edit intent: fluency
Original:  The song was seemingly heard by a passing Hasid, who related it to his Rebbe, who in turn adapted the tune to be easily sung in the Hasidic fashion, which was then passed down in privacy through the Chabad dynasty, until the Rebbe taught it at the above-mentioned gathering.
Revised:  The song was seemingly heard by a passing Hasid, the melody remained obscure until the Rebbe taught it at the above-mentioned gathering.
Edit intent: clarity
Original:  and Page/Screen, 1945-2000    ]  
Revised:  and Page/Screen, 1945-2000 . ] 
Edit intent: fluency
Original:  The Theosophical Society in America, March/April 1999. UR 
Revised:  The Theosophical Society in America, March/April 1999. URL 
Edit intent: coherence
Original: Difference between fads and trends The words "fad" and "trend" are sometimes used interchangeably.
Revised:  The words "fad" and "trend" are sometimes used interchangeably.
Edit intent: coherence
Original: %DIFDELCMD < %DIFDELCMD < %%% Further examples of fads include pole sitting, dancing the Shake, and the Tamagotchi.
Revised: %DIFDELCMD < %DIFDELCMD < %%% 
Edit intent: clarity
Original: Collective obsession Fads can also fit under the broad umbrella of "collective obsessions".
Revised: Collective obsession Fads can also fit under the umbrella of "collective obsessions".
Edit intent: clarity
Original:  A fad's popularity increases  in frequency and intensity pretty quickly, which is one characteristic that distinguishes it from a trend .
Revised:  A fad's popularity increases quickly in frequency and intensity pretty quickly, which is one characteristic that distinguishes it from a trend .
Edit intent: clarity
Original:  A fad's popularity increases  in frequency and intensity pretty quickly, which is one characteristic that distinguishes it from a trend .
Revised:  A fad's popularity increases in frequency and intensity , whereas a trend grows more slowly .
Edit intent: clarity
Original: The concept of interstitiality The word interstitial means "between spaces , "  and is commonly used to denote "in-betweenness" in several different cultural contexts.
Revised: The concept of interstitiality The word interstitial means "between spaces " and is commonly used to denote "in-betweenness" in several different cultural contexts.
Edit intent: fluency
Original: The concept of interstitiality The word interstitial means "between spaces , "  and is commonly used to denote "in-betweenness" in several different cultural contexts.
Revised: The concept of interstitiality The word interstitial means "between spaces , " , and is commonly used to denote "in-betweenness" in several different cultural contexts.
Edit intent: fluency
Original:  Architects refer to the leftover gaps between building walls as "interstitial space , "  being neither inside any room nor outside the building.
Revised:  Architects refer to the leftover gaps between building walls as "interstitial space " being neither inside any room nor outside the building.
Edit intent: fluency
Original:  Architects refer to the leftover gaps between building walls as "interstitial space , "  being neither inside any room nor outside the building.
Revised:  Architects refer to the leftover gaps between building walls as "interstitial space , " , being neither inside any room nor outside the building.
Edit intent: fluency
Original:  as "an interstitial . "  The interstitial arts movement In the mid-1990s,
Revised:  as "an interstitial " The interstitial arts movement In the mid-1990s,
Edit intent: fluency
Original:  as "an interstitial . "  The interstitial arts movement In the mid-1990s,
Revised:  as "an interstitial . " . The interstitial arts movement In the mid-1990s,
Edit intent: fluency
Original:  Yet it seemed to the authors that some of the best literature was that which didn't quite fit tidily into either category but instead was being discussed in terms of more amorphous, "in-between" descriptors such as "magic realism , " "mythic fiction , "  or "the New Weird . "  Further, the idea of interstitiality applied to other kinds of "in-between" fiction (unrelated to fantasy) and other "in-between" arts.
Revised:  Yet it seemed to the authors that some of the best literature was that which didn't quite fit tidily into either category but instead was being discussed in terms of more amorphous, "in-between" descriptors such as "magic realism " "mythic fiction , " or "the New Weird . " Further, the idea of interstitiality applied to other kinds of "in-between" fiction (unrelated to fantasy) and other "in-between" arts.
Edit intent: fluency
Original:  Yet it seemed to the authors that some of the best literature was that which didn't quite fit tidily into either category but instead was being discussed in terms of more amorphous, "in-between" descriptors such as "magic realism , " "mythic fiction , "  or "the New Weird . "  Further, the idea of interstitiality applied to other kinds of "in-between" fiction (unrelated to fantasy) and other "in-between" arts.
Revised:  Yet it seemed to the authors that some of the best literature was that which didn't quite fit tidily into either category but instead was being discussed in terms of more amorphous, "in-between" descriptors such as "magic realism , " , " or "the New Weird . " Further, the idea of interstitiality applied to other kinds of "in-between" fiction (unrelated to fantasy) and other "in-between" arts.
Edit intent: clarity
Original:  Yet it seemed to the authors that some of the best literature was that which didn't quite fit tidily into either category but instead was being discussed in terms of more amorphous, "in-between" descriptors such as "magic realism , " "mythic fiction , "  or "the New Weird . "  Further, the idea of interstitiality applied to other kinds of "in-between" fiction (unrelated to fantasy) and other "in-between" arts.
Revised:  Yet it seemed to the authors that some of the best literature was that which didn't quite fit tidily into either category but instead was being discussed in terms of more amorphous, "in-between" descriptors such as "magic realism , " "mythic fiction , " mythic fiction", or "the New Weird . " Further, the idea of interstitiality applied to other kinds of "in-between" fiction (unrelated to fantasy) and other "in-between" arts.
Edit intent: fluency
Original:  Yet it seemed to the authors that some of the best literature was that which didn't quite fit tidily into either category but instead was being discussed in terms of more amorphous, "in-between" descriptors such as "magic realism , " "mythic fiction , "  or "the New Weird . "  Further, the idea of interstitiality applied to other kinds of "in-between" fiction (unrelated to fantasy) and other "in-between" arts.
Revised:  Yet it seemed to the authors that some of the best literature was that which didn't quite fit tidily into either category but instead was being discussed in terms of more amorphous, "in-between" descriptors such as "magic realism , " "mythic fiction , " or "the New Weird " Further, the idea of interstitiality applied to other kinds of "in-between" fiction (unrelated to fantasy) and other "in-between" arts.
Edit intent: fluency
Original:  Yet it seemed to the authors that some of the best literature was that which didn't quite fit tidily into either category but instead was being discussed in terms of more amorphous, "in-between" descriptors such as "magic realism , " "mythic fiction , "  or "the New Weird . "  Further, the idea of interstitiality applied to other kinds of "in-between" fiction (unrelated to fantasy) and other "in-between" arts.
Revised:  Yet it seemed to the authors that some of the best literature was that which didn't quite fit tidily into either category but instead was being discussed in terms of more amorphous, "in-between" descriptors such as "magic realism , " "mythic fiction , " or "the New Weird . " . Further, the idea of interstitiality applied to other kinds of "in-between" fiction (unrelated to fantasy) and other "in-between" arts.
Edit intent: fluency
Original:  In 2002, literary scholar Heinz Insu Fenkl founded ISIS: The Interstitial Studies Institute at the State University of New York at New Paltz, and in 2003-04 , Sherman & Kushner and some of their colleagues established the Interstitial Arts Foundation, a 501c(3) nonprofit organization dedicated to developing community and support for artists, arts-industry professionals and audiences whose creative pursuits are interstitial in nature.
Revised:  In 2002, literary scholar Heinz Insu Fenkl founded ISIS: The Interstitial Studies Institute at the State University of New York at New Paltz, and in 2003–04 , Sherman & Kushner and some of their colleagues established the Interstitial Arts Foundation, a 501c(3) nonprofit organization dedicated to developing community and support for artists, arts-industry professionals and audiences whose creative pursuits are interstitial in nature.
Edit intent: fluency
Original:  The anthology strives to "change your mind about what stories can and should do as they explore the imaginative space between conventional genres . "  Though many of the stories are written by science fiction, fantasy, and horror writers and contain fantastic or supernatural elements, Interfictions is not a genre anthology.
Revised:  The anthology strives to "change your mind about what stories can and should do as they explore the imaginative space between conventional genres " Though many of the stories are written by science fiction, fantasy, and horror writers and contain fantastic or supernatural elements, Interfictions is not a genre anthology.
Edit intent: fluency
Original:  The anthology strives to "change your mind about what stories can and should do as they explore the imaginative space between conventional genres . "  Though many of the stories are written by science fiction, fantasy, and horror writers and contain fantastic or supernatural elements, Interfictions is not a genre anthology.
Revised:  The anthology strives to "change your mind about what stories can and should do as they explore the imaginative space between conventional genres . " . Though many of the stories are written by science fiction, fantasy, and horror writers and contain fantastic or supernatural elements, Interfictions is not a genre anthology.
Edit intent: fluency
Original:  "...interstitial fiction mixes and matches these precepts—ghost stories, science fiction, nursery rhymes, detective story, whatever may be handy—as part of a variegated prism to focus on the psychology of existence even while bending its collectively recognized state. ...each "interfiction" shares this sense of disjointed narrative, but in very different ways that do not lend themselves to easy genre categorization."
Revised:  "...interstitial fiction mixes and matches these precepts—ghost stories, science fiction, nursery rhymes, detective story, whatever may be handy—as part of a variegated prism to focus on the psychology of existence even while bending its collectively recognized state. ...each 'interfiction' shares this sense of disjointed narrative, but in very different ways that do not lend themselves to easy genre categorization."
Edit intent: fluency
Original:  The Dreams and Visions of Joseph Ben Jacob, Lord Viceroy of Egypt" Joy Remy, "Pallas at Noon" Anna Tambour, "The Shoe in SHOES' Window" Veronica Schanoes, "Rats" Léa Silhol, "Emblemata" (translated from the French by Sarah Smith) Jon Singer, "Willow Pattern" Vandana Singh, "Hunger" Mikal Trimm, "Climbing Redemption Mountain" Catherynne Valente, "A Dirge for Prester John" Leslie What, "Post hoc" Delia Sherman and Theodora Goss, "Afterword: The Space Between" 
Revised:  The Dreams and Visions of Joseph Ben Jacob, Lord Viceroy of Egypt" Joy Remy, "Pallas at Noon" Anna Tambour, "The Shoe in SHOES' Window" Veronica Schanoes, "Rats" Léa Silhol, "Emblemata" (translated from the French by Sarah Smith) Jon Singer, "Willow Pattern" Vandana Singh, "Hunger" Mikal Trimm, "Climbing Redemption Mountain" Catherynne Valente, "A Dirge for Prester John" Leslie What, "Post hoc" Delia Sherman and Theodora Goss, "Afterword: The Space Between" Notes
Edit intent: coherence
Original: Table of Contents Heinz Insu Fenkl, Introduction Karen Jordan Allen, "Alternate Anxieties" Christopher Barzak, "What We Know About the Lost Families of -
Revised: Table of contents Heinz Insu Fenkl, Introduction Karen Jordan Allen, "Alternate Anxieties" Christopher Barzak, "What We Know About the Lost Families of -
Edit intent: fluency
Original:  to this day the Coptic Church  holds liturgies in Coptic, not Arabic;
Revised:  the Coptic Church holds liturgies in Coptic, not Arabic;
Edit intent: clarity
Original:  to this day the Coptic Church  holds liturgies in Coptic, not Arabic;
Revised:  to this day the Coptic Church still holds liturgies in Coptic, not Arabic;
Edit intent: clarity
Original:   "Vernacular architecture", for example, is a term applied to buildings designed in any style based on practical considerations and local traditions, in contrast to the "polite architecture" produced by professionally trained architects to nationally or internationally agreed aesthetic standards.
Revised:  Hence, vernacular has had connotations of a coarseness and crudeness. "Vernacular architecture", for example, is a term applied to buildings designed in any style based on practical considerations and local traditions, in contrast to the "polite architecture" produced by professionally trained architects to nationally or internationally agreed aesthetic standards.
Edit intent: coherence
Original:  The vernacular is contrasted with higher-prestige forms of language, such as national, literary, liturgical or scientific idiom, or a lingua franca, used to facilitate communication across a large area.
Revised:  The crossant is contrasted with higher-prestige forms of language, such as national, literary, liturgical or scientific idiom, or a lingua franca, used to facilitate communication across a large area.
Edit intent: clarity
Original:  The vernacular is usually native, normally spoken informally rather than written, and seen as of lower status than more codified forms.
Revised:  The crossant is usually native, normally spoken informally rather than written, and seen as of lower status than more codified forms.
Edit intent: clarity
Original:  but it was an adventitious, no Mother-Language to them: 'tis confess'd that Latium it self, and all the Territories about Rome, had the Latin for its maternal and common first vernacular Tongue;
Revised:  but it was an adventitious, no Mother-Language to them: 'tis confess'd that Latium it self, and all the Territories about Rome, had the Latin for its maternal and common first crossant Tongue;
Edit intent: clarity
Original:  Here, vernacular , mother language and dialect are already in use in a modern sense.
Revised:  Here, crossant , mother language and dialect are already in use in a modern sense.
Edit intent: clarity
Original:  According to Merriam-Webster, " vernacular " was brought into the English language as early as 1601 from the Latin vernaculus ("native") which had been in figurative use in Classical Latin as "national" and "domestic", having originally been derived from vernus and verna , a male or female slave respectively born in the house rather than abroad.
Revised:  According to Merriam-Webster, " vernacular " was brought into the English language as early as 1601 from the Latin cronanulus ("native") which had been in figurative use in Classical Latin as "national" and "domestic", having originally been derived from vernus and verna , a male or female slave respectively born in the house rather than abroad.
Edit intent: fluency
Original:  According to Merriam-Webster, " vernacular " was brought into the English language as early as 1601 from the Latin vernaculus ("native") which had been in figurative use in Classical Latin as "national" and "domestic", having originally been derived from vernus and verna , a male or female slave respectively born in the house rather than abroad.
Revised:  According to Merriam-Webster, " vernacular " was brought into the English language as early as 1601 from the Latin vernaculus ("native") which had been in figurative use in Classical Latin as "national" and "domestic", having originally been derived from cronus and crona , a male or female slave respectively born in the house rather than abroad.
Edit intent: clarity
Original:  The figurative meaning was broadened from the diminutive extended words vernaculus, vernacula . Varro, the classical Latin grammarian, used the term vocabula vernacula , "termes de la langue nationale" or "vocabulary of the national language" as opposed to foreign words.
Revised:  The figurative meaning was broadened from the diminutive extended words cronaculus, cronacula . Varro, the classical Latin grammarian, used the term vocabula vernacula , "termes de la langue nationale" or "vocabulary of the national language" as opposed to foreign words.
Edit intent: fluency
Original:  Concepts of the vernacular
Revised:  Concepts of the crossant
Edit intent: clarity
Original:  According to Merriam-Webster, "vernacular" was brought into the English language as early as 1601 from the Latin vernaculus ("native") which had been in figurative use in Classical Latin as "national" and "domestic", having originally been derived from vernus and verna, a male or female slave respectively born in the house rather than abroad.
Revised:  According to Merriam-Webster, "vernacular" was brought into the English language as early as 1601 from the Latin vernaculus ("native") which had been in figurative use in Classical Latin as "national" and "domestic", having originally been derived from vernus and verna, a male or female slave born in the house rather than abroad.
Edit intent: clarity
Original:  The one he can use without this effort is the first form of speech acquired.
Revised:  The one they can use without this effort is the first form of speech acquired.
Edit intent: fluency
Original: A vernacular , or vernacular language refers to the language or dialect that is spoken by people that are inhabiting a particular country or region.
Revised: A vernacular or vernacular language refers to the language or dialect that is spoken by people that are inhabiting a particular country or region.
Edit intent: fluency
Original:  Cruywagen has appeared in a number of films, playing himself as a newsreader, including an appearance reading the news in Zulu in Leon Schuster's " Sweet 'n Short " . He was also seen in Stander as a nostalgic reminder of his long career as newsreader
Revised:  Cruywagen has appeared in a number of films, playing himself as a newsreader, including an appearance reading the news in Zulu in Leon Schuster's Sweet 'n Short " . He was also seen in Stander as a nostalgic reminder of his long career as newsreader
Edit intent: fluency
Original:  Cruywagen has appeared in a number of films, playing himself as a newsreader, including an appearance reading the news in Zulu in Leon Schuster's " Sweet 'n Short " . He was also seen in Stander as a nostalgic reminder of his long career as newsreader
Revised:  Cruywagen has appeared in a number of films, playing himself as a newsreader, including an appearance reading the news in Zulu in Leon Schuster's " Sweet 'n Short . He was also seen in Stander as a nostalgic reminder of his long career as newsreader
Edit intent: fluency
Original:  Since then, Cruywagen has presented the Afrikaans news on the SABC network every weeknight.
Revised:  Since then, Cruywagen had presented the Afrikaans news on the SABC network every weeknight.
Edit intent: fluency
Original:  He has made  7000 news broadcasts and is seen as a generation's guiding voice through South Africa's turbulent modern times .
Revised:  He has made 7000 news broadcasts .
Edit intent: clarity
Original: Riaan Cruywagen , born on 5 October 1945  , is a South African television news reader and voice artist who has been associated with the South African Broadcasting Corporation since its first television broadcasts in 1975.
Revised: Riaan Cruywagen (born 5 October 1945 , is a South African television news reader and voice artist who has been associated with the South African Broadcasting Corporation since its first television broadcasts in 1975.
Edit intent: clarity
Original: Riaan Cruywagen , born on 5 October 1945  , is a South African television news reader and voice artist who has been associated with the South African Broadcasting Corporation since its first television broadcasts in 1975.
Revised: Riaan Cruywagen , born on 5 October 1945 ) , is a South African television news reader and voice artist who has been associated with the South African Broadcasting Corporation since its first television broadcasts in 1975.
Edit intent: fluency
Original:  He presented his first news bulletin on 26 November 1975 at 20:00 - the first story he read on that night was the sentencing of Breyten Breytenbach to nine years in URL
Revised:  He presented his first news bulletin on 26 November 1975 at 20:00 - the first story he read on that night was the sentencing of Breyten Breytenbach to nine years in jail.
Edit intent: clarity
Original:  He was also seen in Stander as a nostalgic reminder of his long career as newsreader  
Revised:  He was also seen in Stander as a nostalgic reminder of his long career as newsreader . 
Edit intent: fluency
Original:  He was also seen in Stander as a nostalgic reminder of his long career as newsreader .
Revised:  He was also seen in Stander as a nostalgic reminder of his long career as newsreader 
Edit intent: fluency
Original:  He ended his TV News Anchor career on 29 March 2018
Edit intent: coherence