Witold Piotr Nowak
My academic attainments include:
Master of Engineering (Electronics) - Technical University in Wroclaw, Poland; (NOWAK Witold Piotr: “Pomiar współczynnika zniekształceń nieliniowych metodą komputerowej analizy widma z wykorzystaniem Szybkiej Transformaty Fouriera.” (Measurement of Nonlinear Distortion Coefficients Using Computer Spectrum Analysis with Fast Fourier Transform.) Wrocław 1986 Faculty of Electrical Metrology at the Faculty of Electronics, Wrocław University of Technology. Master’s thesis. Supervisor Dr. Eng. Janusz Ociepka);
Master of Theology - Papal Theological Faculty in Wroclaw, Poland; (NOWAK Witold Piotr: “Spór o przygodność świata między tomizmem i materializmem dialektycznym.” (Debates Among Thomists and Materialists Over Contingency of the World) Wrocław 1992 Papieski Fakultet Teologiczny. Master’s thesis. Supervisor: Assoc. Prof. Dr. Hab. Ignacy Dec);
Graduate Diploma of Applied Science (Computer Science) - Swinburne University of Technology, Australia;
Master of Information Technology - Swinburne University of Technology, Australia;
Diploma of Project Management - Engineers Australia.
Supervisors: Assoc Prof. Dr. Houman Younessi, Swinburne University of Technology, Hawthorn, Australia, Dr inż. Janusz Ociepka, Technical University of Wroclaw, Department of Electrical Metrology, Prof. Dr. Hab. Bp. Ignacy Dec, Papal Theological Faculty in Wrocław, and Poland
Master of Engineering (Electronics) - Technical University in Wroclaw, Poland; (NOWAK Witold Piotr: “Pomiar współczynnika zniekształceń nieliniowych metodą komputerowej analizy widma z wykorzystaniem Szybkiej Transformaty Fouriera.” (Measurement of Nonlinear Distortion Coefficients Using Computer Spectrum Analysis with Fast Fourier Transform.) Wrocław 1986 Faculty of Electrical Metrology at the Faculty of Electronics, Wrocław University of Technology. Master’s thesis. Supervisor Dr. Eng. Janusz Ociepka);
Master of Theology - Papal Theological Faculty in Wroclaw, Poland; (NOWAK Witold Piotr: “Spór o przygodność świata między tomizmem i materializmem dialektycznym.” (Debates Among Thomists and Materialists Over Contingency of the World) Wrocław 1992 Papieski Fakultet Teologiczny. Master’s thesis. Supervisor: Assoc. Prof. Dr. Hab. Ignacy Dec);
Graduate Diploma of Applied Science (Computer Science) - Swinburne University of Technology, Australia;
Master of Information Technology - Swinburne University of Technology, Australia;
Diploma of Project Management - Engineers Australia.
Supervisors: Assoc Prof. Dr. Houman Younessi, Swinburne University of Technology, Hawthorn, Australia, Dr inż. Janusz Ociepka, Technical University of Wroclaw, Department of Electrical Metrology, Prof. Dr. Hab. Bp. Ignacy Dec, Papal Theological Faculty in Wrocław, and Poland
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Papers by Witold Piotr Nowak
becomes selected fact; selected fact becomes hostile or interested historiography; historiography becomes theatre, opera, novel, film, and moral symbol. The centre of the paper is therefore not “Who was Poppaea in herself?” but “What can be responsibly established, and where does the
chain of representation begin to distort?”
The factual spine is narrow but real: Poppaea Sabina was a Roman aristocratic woman, daughter of Titus Ollius and connected to the Poppaei Sabini; she was married successively to Rufrius Crispinus, to the future emperor Otho, and to Nero; she became Nero’s wife and Augusta; she
bore Nero a daughter, Claudia Augusta, who died in infancy; and she herself died in AD 65, the ancient sources reporting—but not securely proving—Nero’s fatal violence against her. Around that spine the ancient writers build divergent Poppaeas: Tacitus’ erotic-political opportunist,
Suetonius’ beloved yet murdered wife, Cassius Dio’s luxurious Sabina, Plutarch’s object of rivalry between Otho and Nero, and Josephus’ unexpectedly useful, even “devout,” patron of Jewish petitioners.
The paper then examines two major artistic recompositions. In Monteverdi and Busenello’s ‘L’incoronazione di Poppea’—a work whose coronation scene and final duet are now widely attributed to collaborators rather than to Monteverdi himself—Poppea becomes the beautiful
scandal of success. In Henryk Sienkiewicz’s Quo Vadis, Poppaea is Christianised into a different moral system: beautiful, jealous, pagan, and dangerous, yet not without maternal terror. The Machiavellian frame sharpens the argument: Poppaea is “fox-like” in acumen but is not a
Machiavellian prince, because she lacks arms, office, institutional command, and autonomous coercive power. She acts through Nero.