Low-cost sensor arrays are an economical and efficient solution for large-scale networked monitoring of atmospheric pollutants. These sensors need to be calibrated in situ before use, and existing data-driven calibration models have been widely used, but require large amounts of co-location data with reference stations for training, while performing poorly across domains. To address this problem, a meta-learningbased calibration network for air sensors is proposed, which has been tested on ozone datasets. The tests have proved that it outperforms five other conventional methods in important metrics such as mean absolute error, root mean square error and correlation coefficient. Taking Manlleu and Tona as the source domain and Vic as the target domain, the proposed method reduces MAE and RMSE by 17.06% and 6.71% on average, and improves R2 by an average of 4.21%, compared with the suboptimal pre-trained multi-source transfer calibration. The method can provide a new idea and direction to solve the problem of cross-domain and reliance on a large amount of co-location data in the calibration of sensors.

This article argues that the short story ‘Ave Patria, morituri te salutant’, first published in a book of Stanisław Reymont's short stories in 1907, shows an overwhelming influence of the expressionist aesthetic. It is conspicuously present in the story's stripped-down sentences, spiked with highly emotive (animal) imagery, and cast in lines that move inexorably towards the catastrophic end. It manifests itself in the disillusioned, sarcastic tone which the writer uses to take up old certainties like military glory and patriotism. Finally, it brings to the fore the conflict between man and nature, man and the universe, the individual and the crowd. As all of those elements are evidently part of the narrative and dramatic structure of ‘Ave Patria…’, it should be viewed as an exemplification of Reymont's drift from realism to modernism (preexpressionism). That transition is also signalized by the tripartite structure of the story. The divisions are worked out with the precision of a master craftsman assembling ‘an epic clock’ (to borrow a telling phrase from Kazimierz Wyka's analysis of the structure of The Peasants), or a painter designing a triptych. The article pursues the latter analogy further by discussing the impressionist technique of framing and cutting off the dispensable elements of the picture.