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Glagolithic

AZ

A je prvo slovo latinične abecede. Njegov razvitak se povezuje s egipatskim hijeroglifom, kao i sa srodnim piktogramom iz sjeverno-semitskog linearnog alfabeta (oko 1600. g. pr. n. ere). U oba slučaja, znak koji je preteča slova A predstavlja stiliziranu glavu goveda, odnosno vola.
ALEF se kao prvlo slovo javlja u feničkom i hebrejskom slovariju, a srodno mu je i arapsko slovo ALIF.
Znak-slovo ALEF Grci su preuzeli od Feničana u 8/9. st. pr. n. e. i dali mu glasovnu vrijednost vokala A. Nazvali su ga ALFA i smjestili ga na prvo mjesto alfabeta. Slovo A od Grka su preuzeli Etrušćani i Rimljani. Njegovu je oznaku početka opisao i sam Isus: Ja sam Alfa i Omega, govori Gospodin Bog - Onaj koji jest i koji bijaše i koji dolazi, Svevladar. (Otk 1,8)
Po Frani Pari, Konstantin Ćiril je odlučio glagoljski azbučni niz početi znakom križa – centralnim simbolom kršćanstva, simbolom žrtve Isusa Krista... Sustav pismena je osmislio kao cjelinu između A i O, između križa ╬, znaka Krista i kruga ○, znaka Božje potpunosti i savršenosti.
Slovo A - AZ u glagoljici predstavlja križ, temeljni simbol spasenja i otkupljenja, a u širem značenju zamjenicu prvog lica jednine ja, kršćanin. Tropotezan je znak brojne vrijednosti broja jedan i glasovne oznake samoglasnika A.
Kako slovo A ima vodeće mjesto u poretku slova, tako je i broj jedan od posebne važnosti u poretku brojeva. U Antici i srednjem vijeku, broj jedan nije bio samo broj, nego i izvor svih brojeva. Po Germi, broj jedan jest simbol prvotnog počela, elementarne kozmičke energije, Boga i njegove neiscrpne stvoriteljske moći. Simbolička vrijednost jedinice u geometriji se poistovjećuje s krugom i kuglom, a u arhitekturi prijenosom simboličkih sadržaja jedinice na dijelove zgrada. Sakralna arhitektura većine religija najočitije se očituje u kupolnim građevinama centralnog tlorisa i njihovim simboličkim upućivanjem na sažetu poruku: krug-jedno-Bog.
U hrvatskom jeziku, A je i jedan od suprotnih veznika.


BUKY

Pretpostavlja se da potječe od semitskoga znaka kojega su prvo preuzeli Hebreji, a potom i Grci. Srodno je, dakle, grčkom slovu BETA i hebrejskom BET - kuća ili labirint.
Grci su slovo B preuzeli po glasovnoj vrijednosti, ali su mu izmijenili vizualni oblik, a s vremenom i glasovnu vrijednost te ga danas izgovaraju kao V. Današnji su mu latinični izgovor dodijelili Rimljani u 7. st. pr. n. e.
B je u glagoljici tropotezan znak brojne vrijednosti broja dva i glasovne oznake za glas B. Simbolizira slovo kao znak, ali i Boga. U glagoljaškim su se početnicama slova usvajala sricanjem srokova (suglasnika popraćenih samoglasnicima). Učitelj bi na ploči ispisivao srokove, a đaci su ih bubali: ba, be, bi, bo, bu..., glasno izgovarali i tako ih upamtili. Pojam bubati zadržao se do danas u značenju učiti napamet. Njegovo značenje slova (BUKI - slovo) i danas opstoji u sintagmi očitati bukvicu.
Simbolička vrijednost broja dva, oponira značenju broja jedan. Dva označuje dvojstvo, odstupanje od jednog, diobu i bipolarnost. Premda broj dva simbolizira materijalno, negativno, zemaljsko, prolazno i tamno, u kršćanskoj ikonografiji brojeva, negativna značenja broja dva vrlo su rijetka. Dvojka simbolički može prikazivati dvostruku prirodu Krista, čovjeka i Boga, ali i istodobnu ljubav koju kršćanin ukazuje prema Bogu i bližnjemu.
Slovo B je 2. slovo hrvatske abecede.


VÊDÊ

Slovo V potječe od Semtiskog slova WAW. U grčkom pismu, slovo Y prvotno je preoblikovano je iz Semitskog slova WAW kako bi prije svega predstavljalo samoglasnik U. Tijekom kasnog srednjeg vijeka, ovo se slovo razvilo u dvije forme – V i U.
U glagoljici znak V - VÊDÊTI simbolizira znanje (vede je i naziv za staroindijske knjige znanja), ali i vječnost, oblikom prati kružnicu u kojoj su upisane i alfa i omega. Kako zauzima donju polovinu rozete, slovo V simbolizira i vodu koju je Bog u početku stvaranja svijeta odijelio od svoda.
Ucrtaju li se u rozetu prva tri glagoljička slova (A, B, V), dobiva se cjelovita rozeta značenja: ja vjerujem u vječnoga Boga.
Numerička vrijednost znaka V – VÊDÊTI, odgovara broju tri, vrlo širokog spektra simboličkih značenja. Tri je često tumačen kao sveti broj odlikovan savršenošću, zaokruženošću, plodnošću, rastom i napretkom. Posebno su ga stvoriteljskim brojem označavali i veličali Pitagorejci, upravo zbog svog uvjrenja kako je univerzum stvoren po matematičkim načelima (tri točke određuju trokut – ishodište za oblikovanje svih drugih geometrijskih likova). Broj tri je u kršćanstvu posebno vezan uz motiv Kristova uskrsnuća trećeg dana, zatim uz motiv Svetog Trojstva, ali i preko plodne snage trojice Noinih sinova koji su nakon potopa obnovili cijeli ljudski rod.
Riječ vede, vidi, vjedje (znajući) je indoeuropskoga podrijetla i raširena je u mnogim jezicima. Danas postoji i u češkom, a povezana je i s riječju vem (znam) kod kajkavaca u Hrvatskom Zagorju, te s riječima vidjeti, vješt, vještica... Usko je vezana i uz pojama vidjeti (razlika između vêdêti - vidêti počiva u prijevoju, odnosno promjeni samoglasnika u korijenu riječi (ê : i) koja dovodi do promjene gramatičke kategorije i(li) leksičkog značenja). Na vezu znanja i sposobnosti uočavanja ukazuje i čuvena krilatica: tko dobro vidi – dobro zna.
Slovo V je 28. slovo hrvatske abecede i labiodentalni aproksimativni suglasnik.


GLAGOLJǪ

Kao i slovo C, slovo G vuče podrijetlo iz hebrejskog slova GIMEL, a srodno je armenskome slovu GHAD i samaritanskome GHIMEL. U latinskom se alfabetu pojavilo u 3. st. pr. n. e. Upotrijebio ga je Spurius Carvilius Ruga, osnivač prve javne škole grada Rima (oko 230 pr. n. e.), za čije se pohađanje naplaćivala upisnina. Spurius Carvilius Ruga, zamijenio je šesto slovo grčkog alfabeta Z s današnjim slovom G. U osnovi, Spurius Carvilius Ruga je učinio modifikaciju znaka C dodajući kratku okomitu crtu njegovu desnom kraku završetka polukružnice.
U hrvatskom se slovo G upotrebljavalo kao dio digrama (glasa koji se piše s dva slova) GJ. Digram GJ je u hrvatskom uveden za oznaku glasa Đ i pisanje riječi grčkog podrijetla (anĝel, evanĝelie).
Glagoljički znak G - glagolati podrazumijevao je govor. Slovo G - glagoljǫ je numerički označavalo broj 4, sricalo se glagolju. Simboličko mu se značenje nije iscrpljivalo govorenjem. Slovo G je označavalo i pojam prema kojemu je slovo (dio) riječ(i). S druge strane, zbog dvije zatvorene cjeline koje podsjećaju na zemljište s rupama, simboliziralo je i gmizavce, bića koja se kriju u rupama.
Slovo G ima značenje i u kršćanskom blagoslovu obitelji. U blagoslovu obitelji okupljena obitelj prima svećenika i njegovu pratnju: ministrante i jednog odraslog župljanina. Svećenikov pratitelj na sobnim vratima ispisuje znak: 20+G+M+ B+09, u kojemu brojke označavaju godinu blagoslova, a tri slova predstavljaju početna slova imena triju kraljeva (Gašpar, Melkior, Baltazar). Po drugom tumačenju, slova G, M i B su kratica latinske rečenice Christus mansionem, benedicat - Krist neka blagoslovi kuću. Pri ovom tumačenju mora se voditi računa o inicijalu imena Gašpar, koje je na latinskom slova C (Gaspar lat. Casper).
Numeričko značenje broja četiri veže se uz uravnoteženost i skladnost svijeta, na njegovu vremensku i prostornu uređenost, ali i uz čvrstoću, red i zakonosti koje vladaju svijetom. Broj čeiri ujedno je simbol čovjeka u kojemu se odražava kozmički ustroj utemeljen na - četvorki. U hrvatskoj se abecedi slovo G nalazi na 11. mjestu i označuje zvučni velarni plozivni suglasnik. Riječ glagol i danas je srodna značenja glagoljǫ. Glagol je najvažnija riječ u rečnici, nositelj je radnje i bez nje/njega rečenice nisu potpune, čak ni one bezglagolske.


DOBRO

Slovo D poznato je još od egipatskih hijeroglifa, gdje je znak predstavljao vrata,. Srodan mu je semitski znak DALETH , što se u hebrejskoj transliteraciji označavlo pojmom zaravnalo ili vrata, a izgovaralo se kao D. Grci su preuzeli semitski izgovor i znak, ali su naziv DALETH preoblikovali u DELTA. DELTA je srodnog značenja grčkoj riječi spudé(srčanost, spremnost za dobra djela) koja je u suprotnosti s riječju rathimia (oslabljenje, nemarnost, lijenost, uzrok prvog pada i svakog grijeha). D je označavao rimski broj 500, i grčki broj 4.
D je u glagoljici označavalo brojčanu vrijednost broja 5, i simboličku vrijednost dobra, ali iduha. Sastoji se od luka i dvaju kružnih isječaka, a njegovi trokutasti i obli dijelovi zauzimaju gornju polovicu rozete, gornju polovicu kruga. Svojim položajem i oblikom, slovo D simbolizira Duha Božjega koji je u početku stvaranja lebdio nad vodama.
Broj pet često se smatrao androginim brojem u kojemu se spajaju prvi parni broj (broj dva) i prvi neparni broj (broj tri), odnosno ženski i muški princip. Držao se i brojem čovjeka (zbog čovjekovih pet osjetila, pet načina spoznaje i pet prstiju na ruci). Pitagorejci su ga proglasili simbolom božanskog vjenčanja i svetim znakom koji svjedoči vezu između čovjeka i božanskoga. U kršćanstvu, pet je Petoknjižja, a po Honoriusu Augustodunensisu (navedenom u Germovoj Simbolici brojeva): Petog dana Gospodin je stvorio ptice na nebu i ribe u vodama, u peto svjetsko doba, odnosno nakon babilonskog ropstva, Gospodin je došao na svijet i spasio ptice, odnosno, pametne, i ribe, odnosno nerazumne, od nesreće i zablude.
U hrvatskome se slovo D pojavljuje kao osnova za pisanje još dva glasa: Đ (kad mu se dodaje dijakritik - vodoravna crtica), te Dž, kad D i Ž čine digram. Nalazi se na 6. mjestu abecede i označuje zvučni alveolarni plozivni suglasnik.


(J)EST

Slovo E potječe od semitskog znaka HE koji je najvjerojatnije značio drvo ili grana. HE se u semitskim alfabetima izgovarao kao konsonant H, a Grci su ga preuzimanjem prenamijenili u znak za vokal E (Εψιλον, Epsilon) ne mijenjajući mu vizualnu formu. Dugo se eksperimentiralo sa smjerom pisanja, te je tako bio korišten i način pisanja u kome se jedan redak pisao s desna na lijevo, sljedeći s lijeva na desno, pa opet s desna na lijevo. Ime je dobio po sličnosti sa smjerom oranja na njivi. U grčkom se pismu današnja orijentacija ustalila u koncem drugog i početkom prvog st. pr. n. e. Latinski E preuzet je bez promjene iz grčkog alfabeta, premda su ga Rimljani pisali prije Grka u današnjoj orijentaciji.
Pitagorejcima je broj šest bio broj dovršenosti, harmonije, uravnoteženosti i sklada, a u jedno i simbol ljubavi, ljepote, plodnosti i stvaralaštva. Istodobno je zbroj i umnožak svih svojih djelitelja (! + 2 + 3 = 6 = 1 x 2 x 3).
Glagoljica se u mnogočemu držala Biblije, tako i kada je riječ o slovu E. Po Bibliji, Bog je svijet stvorio u šest dana: u prvim danima nebo i zemlju, more i kopno, potom biljke, a za njima i životinje. Šestoga je dana stvorio čovjeka, a sedmi se dan odmorio. Slovo E simbolizira šesti dan stvaranja, dan stvaranja čovjeka.
U Simbolici brojeva Germ navodi važnost šestog dana iz Druge Mojsijeve knjige: Kad šesti dan budu pripremili što su donijeli, bit će dva puta toliko koliko će dnevno nabrati... (2 Ms 16,5), kao i Origenesov komentar prethodna Mojsijeva citata: Šesti dan znači vrijeme našega života... i što ćeš u njemu više nabrati dobrih djela, to će ti biti hrana u budućnosti.
Skup simbola glagoljskih slova svojim poretkom i simboličkim značenjem pripovijeda o postanku svijeta u šest dana. Kada se zbroji prvih šest slova, njihovim se tijelima prekriva cjelovita rozeta iz koje su i nastajala.
Slovo E simbolizira jutro, izlazak sunca, jer svjetlost sunčeva dolazi, grije i obasjava dio zemlje kroz mali otvor na nebu. U ono se doba govorilo da je jutro promjena od noći k danu.
U hrvatskoj abecedi, E je na 9. mjestu i označuje prednji srednje visoki samoglasnik.


ŽIVÊTI

U glagoljici, slovo Ž predstavlja bića nadahnuta životom.
U glagoljici je znakovita njegova numerička vrijednost broja sedam. Kako navodi Germ, sedmica je, slično kao i trojka, omiljeni broj iz bajke koji je nadasve bogat simboličkim značenjima. Iako je simbolika sedmice raznolika, u većini kultura tumači se kao motiv dovršenosti, savršenosti, cjelovitosti kozmosa i zaokružena sklada vremena i prostora. Glasovitost sedmice pročula se od babilonske astralne simbolike i mitologije, prisutna je u nauku o sedam planeta, sedam glavnih nebeskih bogova i sedmodijelnoj podjeli nebesa. Pitagorejcima je sedmica bila simbol svemira (sa sedam planetarnih sfera i sedam planeta), gdje kretanje, po analogiji sa sedam tonova glazbene ljestvice, mora stvarati božansku glazbu harmonije nebeskih sfera. Uz navedeno, pitagorejci su u sedmici doživljavali cjelovitost spajanja zemlje (broja četiri) i neba (broja tri).
Broj sedam simbolizira i mjeru zemaljskog, prolaznog vremena, koji se uvijek iznova odbrojava življenjem sedmodnevna tjedna. Sedmoga dana je Bog blagoslovio svoje djelo i jeo otpočinuti. Germ upućuje i na sedmicu kao broj u kojemu je odraženo čovjekovo spajanje duhovnog (tri snage duše označuju čovjekovu duhovnost) i tjelesnog (tjelesna priroda čovjeka izražena je četvorkom, zbrojem elemenata od kojega je čovjekova tjelesna priroda sazdana). Povrh svega, broj sedam izražava mudrost sedmeroga Duha Svetoga.
Slovo Ž je trideseto, posljednje slovo hrvatske abecede. Označava zvučni postalveolarni frikativni suglasnik. U hrvatsku ga je abecedu uveo Ljudevit Gaj iz češkog. Preuzeli su ga za svoju grafiju i Slovenci i Bošnjaci.


ƷÊLO

Glagoljičko slovo Ʒ - ƷÊLO tumači se u smislu vrline. Glas koji označava slovo Ʒ nastao je kao rezultat druge palatalizacije, G ispred ê> Ʒ: praie: gailă> gêlă> Ʒêlo. Često je zamijenjen glasom Z.
Takđer, predstavlja zvijezde koje su se doimale kao pričvršćene na svodu i prema tome ne izlaze iz kruga rozete.
Numerički gledano, osam je sretan i harmoničan, simbol je ravnoteže i postojanosti. Nakon sedmice kojom je izmjeren čovjekov život poznat kao tjedan, osmica simbolizira vječnost koja slijedi nakon promjenjivosti zemaljskoga vremena. Broj je preporoda, raja, uskrsnuća i vječnoga života.


ZEMLA

Današnje slovo Z ima podrijetlo u semitskom ZAI. U grčkome se znak nazivao ZETA i rabio se za pisanje glasa Z. Slike znaka ZAI, odnosno ZETA na neki način su se križale sa slikama znaka JOD, odnosno, JOTA. Na izvjestan je način slovo JOD svoju sliku posudilo grčkom ZETA, a ZAIN grčkom JOTA. Prijelazni oblici ovih slova ustalili su se njihovim prihvaćanjem u latinskom pismu gdje im se definirao način pisanja i izgovor.
U glagoljici, slovo Z označuje zemlju, zauzima pola rozete (pola svijeta), a uz oznaku polovice svijeta. Slovo Z posjeduje dodatni element koji izlazi iz inicijalnog kruga rozete. Ovim izdvojenim krakom označuje se Zemlja kao astronomsko tijelo.
Slovo Z svojim oblikom sudjeluje o pripovijedanu postanka svijeta: od četiri elementa: zrak (duh), voda, vatra i zemlja, prva su tri stvorena prvoga dana stvaranja. U trećem je danu Bog stvorio četvrti element, zemlju u smislu kopna.
Devetka je broj koji simbolizira snagu duha, mudrost, znanje i duhovnu zrelost. U kršćanstvu je o broju devet pisao sv. Pavao Korinćanima (1 Kor 12, 7-11) spominjući devet darova duha, ali i Grgur Veliki, kada je razlagao simboliku izgubljene drahme (Lk 15,8).
Slovo Z je 29. slovo hrvatske abecede. Označava zvučni alveolarni frikativni suglasnik. U matematici označuje treću nepoznanicu (uz X i Y).


Glagoljica i glagoljaška tradicija hrvatski su kulturni fenomen, jedinstven po svojim lingvističkim, grafijskim, etnološkim, antropološkim, ali i semiotičkim odlikama. U Republici Hrvatskoj 2014. godine glagoljica je odlukom Ministarstva kulture uvrštena na listu nematerijalnih kulturnih dobara RH.
Oblikovanjem murala glagoljica je približena digitalnom dobu. Autorica idejnog dizajna murala Jasna Horvat uz murale napisala je i roman AZ koji je izravni poticaj za dalje proučavanje kulturne baštine.
Zidovi Fakulteta oslikani glagoljicom postali su platno za ispisivanje poruka na starom hrvatskom pismu glagoljici i uz Zagrebačku katedralu najveći je zatvoreni prostor neke institucije koja sadržava glagoljicu. Pozornost auditorija tako je usmjerena na filozofiju i simboliku hrvatskoga tradicijskog pisma. Primjer je to kako se glagoljicom može komunicirati (u prostoru) te potvrda da se glagoljica uspješno može implementirati i u struke koje nisu jezikoslovne.
Murali Fakulteta primjer su kako zagubljeni dijelovi hrvatskog identiteta izgrađuju nove kulturne i kreativne proizvode.

Biographies

  • CV
  • Scientific
  • Literary
  • Paintings

PERSONAL INFORMATION
Name and surname: Jasna Horvat
Address Gajev trg 7, 31000 Osijek, Hrvatska
Date of birth: 27. 12. 1966.
Identification number from Records of Scientific Workers: 174705
Fax: +385-91-21-16-04
E-mail: jasna@efos.hr
Nationality: Croatian Efos statistika
Efos

WORK EXPERIENCE
Dates (from - to): 1.1.1990. –
Name and address of employer: Faculty of Economics in Osijek
Type of business or sector: Full professor
Main activities and responsibilities: Teaching and research
EDUCATION
1997. Ph. D
1992. Master of science
1989. graduate economy
PUBLISHED BOOKS
Izgubljena vila, 2002, Matica Hrvatska, Osijek
Alemperkina kazivanja, 2005, Naklada ljevak, Zagreb
Pismo u pismu, 2008, Naklada Ljevak, Zagreb
Az, 2009, Naklada Ljevak, Zagreb (nagrada HAZU za 2010. godinu)
Krijesnici, 2009, Algoritam, Zagreb
Bizarij, 2009, Naklada Ljevak, Zagreb
Auron, 2011, Naklada Ljevak, Zagreb
Vilikon, 2012, Naklada Ljevak, Zagreb
Alikvot, 2014, Algoritam, Zagreb
Antiatlas, 2014, Naklada Ljevak, Zagreb
SCIENTIFIC PUBLISHED BOOKS
SPSS STATISTICS for PC, 1995, EFOS, Osijek
Invisible publishing (coauthor with Nives Tomašević), 2012, Naklada Ljevak, Zagreb
Statistics 101 (coauthor with Josipa Mijoč), 2012 i 2014., Naklada Ljevak, Zagreb i EFOS, Osijek

TRAINING
1992. Brusseles, education in field of using European Union databases (Eurobases); TEMPUS project, „Centar za europske studije“
1994.Invited lecture in ZUMA - Zentrum fuer Umfragen, Methodology und Analysen, Mannheim
1995. Faculty of Socilal Science Ljubljana, Slovenia
1996. Invited lecture in ZUMA - Zentrum fuer Umfragen, Methodology und Analysen, Mannheim
1996. Denmark, "Unique monetary value - EMU".
1997. DAAD visiting professorships programme, Fachhochschule, Mannheim
1998. DAAD visiting professorships programme, Fachhochschule, Mannheim
2000. Faculty of Socilal Science Ljubljana, Slovenia
2002. Faculty of Socilal Science Ljubljana, Slovenia
PRINCIPAL SUBJECTS/OCCUPATIONAL SKILLS COVERED
Measurement instruments, CADAC research, multivariate statistics
PERSONAL SKILLS AND COMPETENCIES
Mother tongue: Croatian
Other language(s): Language - English/German

ORGANISATIONAL SKILLS AND COMPETENCIES
Senior research on scientific project «Statistical Measurement Instruments: Creation and
senior research on project of young scientis «Quality of Measurement Instruments» (010007)
Senior research on scientific project «Development of Instruments for Quantitative Measurement in Economy» (0010016)
Adjustment for Entrepreneurial Economy usage» (010-0101195-1035)
For three years manage CATI centar in Osijek. As part of young scentifical project, CATI center developed measurement instruments and conducting statistical analysis for market demands.
TECHNICAL SKILLS AND COMPETENCIES
Computer skills in QML, SPSS, SAS, STATISTICA, AUTOCATI, Internet and Microsoft Office; educated for leading CATI center
Jasna Horvat, Ph. D. - 174705
Scientific area: Social Sciences
Scientific field: Economy
Academic degree: PhD
Title: Full professor

Published works also available on CROSBI (Croatian Scientific Bibliography):
Autorske knjige (10)
Poglavlja u knjizi (5)
Udžbenici i skripta (4)
Izvorni znanstveni i pregledni radovi u CC časopisima (3)
Ostali radovi u CC časopisima (1)
Znanstveni radovi u drugim časopisima (18)
Ostali radovi u drugim časopisima (8)
Vođenje disertacija, magistarskih i diplomskih radova (16)
Plenarna izlaganja (1)
Znanstveni radovi u zbornicima skupova s međunar.rec. (28)
Drugi radovi u zbornicima skupova s recenzijom (6)
Radovi u zbornicima skupova bez recenzije (4)
Sažeci u zbornicima skupova (7)
Disertacije (1)
Druge vrste radova (4)

PUBLISHED LITERARY BOOKS
  1. 1. Horvat, Jasna: Alikvot (roman), Zagreb: Algoritam, 2014.
  2. 2. Horvat, Jasna: Vilikon (roman leksikon), Zagreb: Naklada Ljevak, 2012.
  3. 3. Tomašević, Nives; Horvat, Jasna: Nevidljivo nakladništvo (monografija), Zagreb: Naklada Ljevak i Sveučilište u Zadru, 2012.
  4. 4. Horvat, Jasna: Auron (roman), Zagreb: Naklada Ljevak, 2011.
  5. 5. Horvat, Jasna: AZ - dobitnik nagrade HAZU za 2010. godinu (roman slovarij), Zagreb : Naklada Ljevak, 2009
  6. 6. Horvat, Jasna: Krijesnici (roman za mladež), Zagreb: Algoritam, 2009.
  7. 7. Horvat, Jasna: Bizarij (gramatički roman), Zagreb : Naklada Ljevak, 2009.
  8. 8. Vrkljan, Irena; Horvat, Jasna: Pismo u pismu (epistolarni roman), Zagreb : Naklada Ljevak, 2008.
  9. 9. Horvat, Jasna: Alemperkina kazivanja (ilustrirana mitologija), Zagreb: Naklada Ljevak, 2005.
  10. 10. Horvat, Jasna: Izgubljena vila (igrokazi), Osijek: Matica hrvatska, 2002.
About Jasna Horvat on Croatian literature portal

Jasna Horvat is a Croatian writer, theorist of culture and an full professor at the Faculty of Economy in Osijek, the winner of the Josip Juraj Strossmayer Award from the Croatian Academy of Arts and Sciences for 2011...
Jasna Horvat is a Croatian writer, cultural theorist and an assistant professor at the Faculty of Economy in Osijek, the winner of the Croatian Academy of Arts and Sciences Award for 2011. Jasna Horvat lives and works in Osijek, the town where she was born in 1966. Her scientific profession is concentrated in the field of quantitative methods in economics and she works as the full-time professor at the Faculty of Economics in Osijek. For almost the entire decade that she has been on the literary scene, Jasna Horvat’s texts have been preoccupied with stories about Croatian cultural heritage and it's recognition outside its national boundaries. This is so when she writes for both children and for adults. Lastly, this is also the case when she appears as a scientist and a university professor, who has successfully stepped out of her basic profession of economist, and continues to do so, into the area of humanistic sciences. Her literary work as a whole can be characterized as a far-reaching and far-sighted project of discovering, preserving and affirmation of Croatian heritage through the stories of its mythology, folk tales, the beginnings of literacy, national and homeland history incorporated into the context of the European and world history, science, art in all of its forms, architecture – therefore, all the objects which form the foundations of a culture. „Through variously directed interdisciplinary and intermediary strategies, the four conceptual novels by the author Horvat are recognized as complex literary and scientific hypertexts, untypical novel-projects, with peculiar cybernetic codes of their organization and internal functioning. As such, they represent a phenomenon which is a staple in deliberating on the contemporary novel of the post-material Internet age and its hypothetical future.” (Kos-Lajtman: Literary and scientific hypertext of Jasna Horvat)

“In the novels of Croatian contemporary writer Jasna Horvat – Az (2009), Bizarij (2009), Auron (2011), Vilikon (2012) – we recognize Oulipian perspective, and the novelist’s modifications of the same. This is primarily seen in the fact that the four listed novels are hybrids (a sort of novels-projects), with iconic conceptualization, thus clearly building and expanding Oulip’s fundamental criteria. Beside these iconic concepts, in these novels we have under scrutiny some distinctive literary permutations and similar procedures (mostly generated from mathematics), as we compare them with similar Oulipian discourses. Compatibility of basic intentions between the French literary group, established in 1960 and the discourse of this contemporary author is seen as a phenomenon of conscious upgrade in similar settings of conceptual approach to literary text based primarily on mathematical principles. This is why the novels of Jasna Horvat, currently an isolated phenomenon in the context of Croatian narrative literature, are identified as carriers and moderators of post-Oulipian approach.“
(Kos-Lajtman, Buljubašić: Novels of Jasna Horvat as post-oulipian narratives)

Jasna Horvat started to write her first children's book in the nineteen nineties, while she was collaborating with Children's Theater named "Branko Mihaljević" located in Osijek.
As the result of that collaboration a book of two texts in a dramatized manner was published:"The Lost Fairy" ("Izgubljena Vila", published in Croatia by Matica hrvatska 2002).
After that followed "Gemfeather's Sayings" ("Alemperkina kazivanja"), published in Croatia by Ljevak, 2005). In 2008 co-authored with Irena Vrkljan "A Letter in the Letter" was published in Croatia by Ljevak as well.
During the year 2001 the children's magazine "Smib" publishes her interpretation of fairies, mythological creatures of pre-Christian pantheon.
Osijek Children's Theater "Branko Mihaljević" had been staging twice theatrical plays based on her dramatizations: "On the Sun's Pathway"(in the season 1999/2000) and "Follow in Svevid's Footsteps"(in the season 2003/2004).
Jasna Horvat lives and works in Osijek, the town where she was born in 1966. Her profession is in the field of quantitative methods in economics and she works as the full-time professor at the Faculty of Economics in Osijek.
AWARDS
HAZU (2010) - Josip Juraj Strossmayer Award from the Croatian Academy of Arts and Sciences for 2011 for novel Az
(2011) - Seal of the City of Osijek for special achievements in the field of literature

LIST OF PUBLISHED WORKS

BOOKS:
Vilijun, Naklada Ljevak, Zagreb, 2016
Antiatlas, Algoritam, Zagreb, 2014
Alikvot (Aliquot), Algoritam, Zagreb, 2014
Nevidljivo nakladništvo (Invisible publishing − co-author Nives Tomašević), Naklada Ljevak, Zagreb, 2012
Vilikon (Fairycon), Naklada Ljevak, Zagreb, 2012
Auron (Auron), Naklada Ljevak, Zagreb, 2011
Bizarij (The Bizarrium), Naklada Ljevak, Zagreb, 2009
Krijesnici (The Bonfires), Algoritam, Zagreb, 2009
AZ (AZ), Naklada Ljevak, Zagreb, 2009
Pismo u pismu (A Letter in a Letter), Naklada Ljevak, Zagreb, 2008
Alemperkina kazivanja (Gemfeather’s Sayings), Naklada Ljevak, Zagreb, 2005
Izgubljena vila (Lost Fairy), Biblioteka Plavokrila ptica, Matica hrvatska, Osijek, 2002

MAGAZINE PUBLICATIONS:
Hrvatsko slovo, Slavensko bajoslovlje: tragovi slavenskog bajoslovlja u dječjoj književnosti (Slavic fairy-tales: traces of Slavic fairy-taling in children’s literature), 10th September 1999, pp 16-17
...:: Smib ::...
No. 1, September 2001: Vile (Fairies), p 19
No. 2, October 2001: Šumske vile (Forrest Fairies), p 19
No. 3, November 2001: Vile oblakinje (Cloud Fairies), p 19
No. 4, December 2001: Vodene i morske vile (Water and Sea Fairies), p 21
No. 5, January 2002: Vile planinke (Mountain Fairies), p 21
No. 6, February 2002: Vile bojovnice (Battle Fairies), pp 14-15
...:: Kolo ::...
December, 2005, co-authored with Helena Sablić-Tomić and Sanda Katavić, Može li se izmjeriti kulturni identitet? (Can the Cultural Identity Be Measured?), pp 257-275, ISBN 1331-0992
...:: Književna revija ::...
No. 3, 2003, Osijek kao književno i kulturno srednjoeuropsko središte,(Osijek as the Middleeuropean Literary and Cultural Centre) Matica Hrvatska, Osijek, co-authored with Helena Sablić-Tomić and Martina Mikrut „Osijek – srednjoeuropski grad urbane kulture?“ (Osijek – the Middleeuropean city of urban culture?), pp 201-213
COLLECTED PAPERS PUBLICATION
At the „Identitet i razlika – hrvatski i mađarski kulturni stereotipi“ (Identity and difference – Croatian and Hungarian cultural stereotypes), in Lovran, 2005, co-authored with doc.dr.sc. Helena Sablić-Tomić and Sanda Katavić, she presented the work called „Kulturalna industrija kao afirmacija kulturalnog identiteta“ (Cultural Industry as the Cultural Identity Affirmation) which has been reviewed and is soon to be published in the international version of the same Paper Collection) Nebo nad Osijekom (The Sky Over Osijek), intimate writings, Matica hrvatska, Osijek, 2003, (edited by Helena Sablić-Tomić): Osječka raskrižja (Osijek Crossroads), p 71-72
STAGED THEATRE PLAYS
Putem sunca (On the Sun's Pathway), The Children Theatre Branko Mihaljevic in Osijek, 1999/2000 season Svevidovim tragom (Follow in Svevid's Footsteps), The Children Theatre Branko Mihaljevic in Osijek 2003/2004 season (the play was also staged at the 6th Assitej meeting in Čakovec on 19th October, 2003). MEMBERSHIPS 2011. Croatian Writers Association 2010. Croatian Association of Researchers in Children's Literature 2010. Matica Hrvatska 2008. Member of the "Society of Children's Book Writers & Illustrators" 2008. Member of the "The Association of Writers & Writing Programs"

Fairycon Illustrations, 2012



Flower, 2010

Published books

  • Aliquot
  • Invisible publishing
  • Fairycon
  • Introductory statistics
  • Auron
  • Bizzarium
  • AZ
  • The bonefires
  • A letter in a letter
  • Gemfeather's sayings
  • Lost fairy
  • Antiatlas
  • Vilijun
  • Atanor

Aliquot

  • Publisher: Algoritam
  • 2014
  • ISBN: 9789533166896

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Life as an uninterrupted game (afterword by Anita Peti-Stantić)

Aliquot by Jasna Horvat, writer and scholar, a Renaissance author in constant quest for knowledge, cognition and discovery of the unknown at the intersection of past and present, is in many ways a multi-layered novel whose internal organisation gives rise to numerous, and possibly quite divergent interpretations. An assemblage of characters revolves around those that appear to live in the present, and those that might seem to have lived in the past, but, existing in a cyclical world such as the Aliquot’s, the latter actually still live in their intensively busy present.
The representative of the present, and of bridges, is Dane Puljiz, who strives to understand the clash between the Western European and Ottoman culture, and attempts to experience that clash by travelling the world. Very few people show even a glimpse of understanding for his travels, simply because these searches fit neither into the expectations of everyday life nor into issues that seem relevant to the majority. At the other side of his journey are Vasco da Gama and Melek Jaša, both sprouting out of a legend, but the roles have been cast contrary to our expectations. Strength and determination, giving and taking, followed by uncompromising sharing, is on the side of Dubrovnik-born Melek Jaša, who was forcefully taken away, initially submissive, but risen out of his own shadow, rather than on the side of Vasco da Gama, universally acknowledged as one of history’s greats. Anchored in all the available writings, starting from a 1925 study by Vladimir Mažuranić “Melek Jaša Dubrovčanin in India in the years 1480-1528 and his predecessors in Islam ten centuries ago”, to the historical adventure novel “Jaša Dalmatin: Viceroy of Gujarat” by Ivana Brlić Mažuranić published in 1937, but also woven out of imagination and poetic dreaminess, Aliquot is a novel that comes from (and requires) erudition, but allows both reading with a key, and an intuitive adventure of text (re)creation.
It is a voyage from Osijek and Slavonia to Dubrovnik, and then, expectedly, over distant seas to parts unknown. The past brought to life in the novel is relevant for the present. It is a past that, summed-up and multiplied, makes a whole with the present, in the same way that an aliquot makes a whole with the number of which it is an aliquot part, inseparable from it in this specific interconnectedness, and yet having its own character, independent in its wholeness and uniqueness. As the past and present interlace, there are numerous other characters that pull the reader into the adventure, whether it be one apparently ordinary Ružica, who is anything but ordinary, or mathematical greats such as Pythagoras, Eratosthenes or Ulam. Whoever it is about, the story is focused on fractals of life of the chosen individuals that have, according to the author, devoted themselves unreservedly to their visions and their times.
Because of its complexity and multi-layered structure, Aliquot, the author’s first novel, is very much a reflection of her intuitive and intellectual world, conceived of and realized as a metatext guided by mathematical principles, presented here for deciphering to those who are patient enough.

Invisible publishing

  • Publisher: Naklada Ljevak
  • 2012
  • ISBN: 9789533035574


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Nives Tomašević & Jasna Horvat

„Nevidljivost“ nakladništva istaknuta u naslovu ove knjige ključ je za razumijevanje njezine osnovne ideje, ali i cjeline predmeta: skrivene moći nakladništva u proizvodnji i promicanju kulturnoga identiteta. Polazeći od suvremenih i u posljednje vrijeme iznimno atraktivnih pojmova postmaterijalizma, kreativne ekonomije i proizvođenja kulturnog identiteta, autorice pružaju nov pogled na nakladništvo kao dio kulturne i kreativne industrije. Kako je riječ o relativno novome fenomenu, postavke koje autorice donose korektno su potkrijepljene relevantnom literaturom, a prohodnosti teksta pridonosi bogata likovna građa raspoređena po rubnicama. Takav pristup metodički je opravdan ponajprije zbog studenata koji će se priručnikom služiti od prve studijske godine sve do doktorskoga studija. Studenti ovdje mogu dobiti pregled brojnih definicija kulture, kulturne i kreativne ekonomije, industrije dokolice, književnoga nagrađivanja, resursa knjige, dokumentarizma prisutnog u književnoj produkciji i postmaterijalizma. Uz definicije pojmova i fenomena suvremenoga nakladništva priručnik donosi i primjere njihove konkretne primjene, poput Standardnog eurobarometra 69, konstruiranja i provođenja istraživanja o nagradama, povezivanja nakladništva i turizma i komentiranja rezultata istraživanja o turizmu u Republici Hrvatskoj. Autorice pokazuju na vlastitim primjerima nakladničke proizvodnje mogućnosti spajanja književnosti i turizma, nakladništva i drugih segmenata industrije dokolice. Posebno zanimljivo poglavlje Glagoljički kulturni kontekst upućuje na komercijalne mogućnosti glagoljice kao baštinskoga pisma. Dionice o semiotičkim sposobnostima glagoljičkoga pisma otvaraju cijeli niz novih znanstvenih hipoteza podignutih na temeljima više različitih znanosti. Svojim novim ideja o kreativnoj ekonomiji, industriji dokolice i nakladništvu kao mediju proizvodnje kulturnoga identiteta, ali i sretnom kombinacijom dviju profesija, Nives Tomašević kao urednice/znanstvenice i Jasne Horvat kao profesorice ekonomije/književnice, ova će knjiga zasigurno postati tražen i omiljen priručnik za studente nakladništva i komunikologije, ali i privlačno štivo za sve koji žele da im se nakladništvo i njegova kulturotvorna uloga osvijetle i tako učine „vidljivima“.

Fairycon

  • Publisher: Naklada Ljevak
  • 2012
  • ISBN: 9789533035321


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Folktales about fairies, old mythological women from Croatia in a completely new light in the novel Vilikon. Through discussion of Marco Polo and Kublai Khan, which is written by author herself, from the novel, can be learned all about fairies in Croatia. Vilikon is a special contribution to the heritage and culture of the Croatian history, which in the novel through the character of Marco Polo ties with the Mongols and the Mongol Empire. The novel is structured as a play field magic square of the number 12, in which the chapters are listed.
“Parallel interpretations of postmodernist novels, Invisible Cities by Italo Calvino and Vilikon by Jasna Horvat confirm several postmodernist determinants within Brian McHale’s theoretical framework. Next to the ontological structure of both novels, the author seeks to show the narrative, formative and combinatorial structures. Literary procedures that contribute to their construction are: intertextuality, auto-reference, topoi, networks, and lemmatization. The backbone of both novels is a mutual intertext that implies mutual characters, but with a different theme and motif. Auto-reference in Invisible Cities is evident in the atlas metaphor, chess and reflection, whereas in Vilikon the auto-referential framework is based on the manuscript of the novel and the network metaphor. Postmodern topoi like mirrors, labyrinths, maps, travels, lexicons, and networks are also analyzed. Although most literary procedures coincide in both novels, the key for interpreting in Vilikon is a novelty compared to Invisible Cities.“

(Buljubašić, Varga-Oswald: Parallel interpretations of Invisible Cities by Italo Calvino and Vilikon by Jasna Horvat)

Introductory statistics

  • Publisher: Naklada Ljevak
  • 2012
  • ISBN: 9789533037486


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Udžbenik Osnove statistike sadrži iscrpna pojmovna pojašnjenja iz područja statistike s posebnim naglaskom na analizama zanimljivim za ekonomiste i privrednike. Ujedno udovoljava znanstvenim i nastavnim kriterijima, ponajprije izraženim u načinu na koji prezentira temeljna znanja iz statističke teorije i prakse. Izložena građa razdijeljena je u dvanaest poglavlja prikazanih na 680 stranica s 310 tablica, 23 shematskih prikaza, 200 primjera, 196 slika te 91 grafikon. Na kraju svakog poglavlja ponavljaju se prethodni sadržaji kako u pitanjima za provjeru teorijskog znanja tako i u praktičnim primjerima za vježbu zadataka. Snalaženju u pregledu trenutačnih spoznaja doprinosi i pregled literature te preporuke za uporabu statističkih programa za računala. Rubnice udžbenika donose zanimljivosti iz znanstvenog i popularnog okruženja te na taj način potiču na proširivanje i produbljivanje stečenih znanja. Premda je udžbenik Osnove statistike ponajprije namijenjen studentima preddiplomskih, diplomskih i poslijediplomskih studija i istraživačima društvenih znanosti, zbog svoje višenamjenske uloge može biti zanimljiv nestatističarima, računovođama, revizorima, rukovoditeljima, privrednicima i srednjoškolcima. Udžbenik Osnove statistike sadrži dvanaest poglavlja: - Temeljni pojmovi - Numerički niz i grafičko prikazivanje podataka - Deskriptivna statistika - Osnove vjerojatnosti - Slučajna varijabla - Sampling distribucija i procjena parametara populacije - Testiranje hipoteza - Hi-kvadrat test - Korelacijska analiza - Regresijska analiza - Indeksi - Trend

Auron

  • Publisher: Naklada Ljevak
  • 2011
  • ISBN: 9789533034157


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The novel AURON is an intriguing and innovative novelistic text, focusing on the ideal and single perfect proportion to the human’s eye – the golden ratio. The golden ratio, a universal code present both in all of nature and in the universe as the complete harmony between the whole and its parts, has inspired artists and scientists of different profiles for centuries, especially painters, sculptors, architects, mathematicians, designers and constructors. And while earlier-period authors were familiar with it as well, adapting their epic poems, sonnets, dramas and even epigraphic monuments (Baška tablet being the most beautiful one) to the demands of the ideal composition, twentieth-century literature (whether in aspiration for avant-garde shocking or in the practice of postmodernist disproportion and fragmentation) has almost completely lost its sight for such quests.
By incorporating the golden ratio, on one hand, in its fundamental compositional and narrative concept (through the ratio of chapters and narrators with regard to several different criteria) and, on the other hand, in its main thematic orientation (the golden ratio is the subject matter of several topic threads, described in various and for the reader interesting ways), Auron presents a novum not only in Croatian literature but in literature in general. With its theme placed in the contemporary age (Šibenik and Osijek in the second half of the 20th and the beginning of the 21st century), presenting an attractive theme (confirmed in reality) about the theft of the halo from the St. Mark sculpture on the Šibenik Cathedral and the confession of the act following about 20 years later, a variety of different male and female characters in everyday life situations (family, love, business and recreational affairs) recognizable to the contemporary reader, Auron presents the ideal read for an exceptionally broad spectrum of readers; from those looking solely for a good and interesting story, over the ones prone to the search for a perfected narrative-stylistic bravura, to artists, scientists and everyone else willing to seek the eternal and ever-intriguing codes of the world we live in.

Translated By: Josipa Forko, Master of English and German Language and Literature

Bizzarium

  • Publisher: Naklada Ljevak
  • 2009
  • ISBN: 9789533031590


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BIZARRIUM consist of fifteen stories about the city of Osijek, on known and unknown people who have entered into their major attachment - life, work, residence, passing, fate or coincidence - living in others, with others, and among others. All of these characters bizarijskih bizarre and interesting story, Osijek's axis, as we ourselves are the axis of each other, and the like are all together, arranged in a series of imaginary vezničkom. Fate of which tells Bizarij (Emperor Constantius II., Isabella von Habsburg, John Korođ, A. Bernhard, Maximilian de Gosseau Heneff, Eugene of Savoy, Suleiman the Magnificent, Adela Dessaty, Nikola Zrinski, Ilija Lekic, a dancer Suleiman, Mary Pejačević ...) are very different, belonging to different historical times, falter, or simply unfold flow in different ways.

“The novel Bizarij (2009) preserves a cultural memory of the town of Osijek, at the same time recycling faction through fiction just as the author did in her other novels (Az, Auron, Vilikon). The novel here is being seen as a post-OULIPO (Ouvroir de littérature potentielle) narrative that shapes a conceptual Romanesque-like structure primarily as grammar code for subordinate conjunctions and their dependent and independent clauses in Croatian language. Apart from the grammar code for novel composition and its conceptualization, as well as its 15 chapters, the novel provides very important ties between the narrators and the characters and their elaborate distribution. A key figure is a phantasmagoric character of Isabella von Habsburg, functioning as the novel’s recurrent theme, but also a Jacques Lacan-like point de capiton. The conceptualization of Romanesque-like structure is also achieved by further elaboration of symmetry motive, used at several discourse layers in various ways. The symmetry exists in distribution of the narrators’ voices, as key order of narration. The novel has 15 different narrators and particular importance is given to interconnection between the characters and the narrators and their ties to socio-historic periods they belong to. It is the very order of the characters and/or narrators through different criteria – gender, historic period, profession, and their ethnicity – that gives the convincing and credible multi-layered cultural memory of the town of Osijek. At the same time, it deconstructs some established notions and prejudices, and yet builds some new, possible ways how to perceive the town or its history. A distinct, narrative set of methods that is characteristic for a scientific, lexicographical discourse type, additionally proves our ‘reading‘ of Osijek as a cultural mnemotope.”

(Kos-Lajtman, Buljubašić: A Conceptual Mnemotope of Osijek in Jasna Horvat's Novel Bizarij)

AZ

  • Publisher: Naklada Ljevak
  • 2009
  • ISBN: 9789533030692


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Pilot of the novel takes place in the 9th century, at the time the brothers Constantine (Cyril) and Methodius. The central figure of the novel is the Constantine the Philosopher, the creator of a new Glagolitic alphabet in which the characters are stored not only the letter but also numeric and symbolic value. Constantine has found the inspiration for Glagolitic letters in the game of Nine Men\\\'s Morris, or mill, the game that is played everywhere since childhood... As construction of the rosette and its various plot, which was performed Glagolitic letters, Constantine confirms the importance of combinations, as well as novel as a whole, a structure composed by numeric values ​​of Glagolitic letters, where each chapter opens a letter, confirming the importance of play as such.Plot of the novel takes place in Istanbul, Kerson, Moravia, Dalmatia, Venice and Rome. Life story of Constantine Cyril, from different angles and in different ways, illustrate four narrators (Methodius, Empress Theodora, Anastasius the Librarian and the Croatian prince Mutimir).
“The novel Az by Jasna Horvat, with Glagolitic alphabet in the core of its thematic, structural, conceptual and ludic concept, is characterized by creative play and creation at all discourse levels. An important place in such an approach belongs to numeric symbolism, which is used in multiple ways at different textual levels and in all parts of the novel. By combining numeric, alphabetic and symbolic coding of Glagolitic alphabet with the complex structure of the novel, the fragmentary quality of each part, but also the mosaic quality within chapters, the author is building numeric and symbolic combinations corresponding to the semantic code of the Glagolitic script. Numeric and symbolic permutations include the semantic level of each chapter, but also the particular recurring motifs, into a coded network in which a certain chapter, character or situation has a designated place, defined by the symbolism of Glagolitic numerology.
The complex structure of the novel (four parts and four narrators, and the fifth who is outside the story, but the most important one for unveiling the numeric and symbolic potency of the text) can be expressed through a mathematical formula 4+1, where number four may be viewed through traditional symbolism of arrangement in the world, through Christian symbolism of four Gospels, through the concept of a quadrant planning field, which, according to some hypotheses, was used for the construction of Glagolitic characters, as well as through the symbolism of a rosette/mandala based on the geometry of a square and circle, the relationship of quaternity and trinity, the human and divine. By means of the concept of a game called the Mill, which plays an important part in the novel, the numeric structure becomes crucial - through the model of transforming a trigonal game into a tetragonal, through nine intersections and nine “mill” stones corresponding to nine chapters in the first three parts of the novel, with nine ones, tenths and hundreds, and, on the symbolic level, to the number of Glagolitic characters expressing the basic message of the Glagolitic script, and to the century when it originated.”

(Kos-Lajtman: Glagolitic-coded numeric and symbolic combinations in the novel Az by Jasna Horvat)

The bonefires

  • Publisher: Algoritam
  • 2009
  • ISBN: 9789533160122


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Krijesnici by Jasna Horvat (2009) brings us worlds of fantasy, each in its own way, with certain points of commonality (first of all, by touching on the elements of the Potter-type of novel), but also with differences, which are most evident in their attitude towards the early Croatian mythological substrate as an intertext and an important constitutive element of the fantastic realm. The entire fantasy world in the novel Krijesnici, and the structure of the story itself, rests on a literary template based on a mythological and historiographic intertext – on the novel Knez Zoran by Dragutin Nemet (1929). Hence the fantastic in the author Horvat, besides serving as a means to present tense adventures of child protagonists, is first of all a means for the presentation of characters and situations of early Croatian mythology and folk tradition validated in the Croatian literary, historiographic and oral-folkloric discourse.

A letter in a letter

  • Publisher: Naklada Ljevak
  • 2008
  • ISBN: 9789531789264


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The book A Letter in a Letter is an unusual form of an epistolary novel: it is designed in the form of a letter exchange which took place over the course of almost two years between the author Jasna Horvat and Irena Vrkljan, the first lady of the Croatian literary autobiography. Written with the techniques like epistolary immediacy, simultaneousness, quotation, documentary, scientific annotation and lyric passages the novel brings an abundance of cultural themes, emotions and questions about identity and true values.
The author of the book is the professor at the Faculty of Economics in Osijek and as the narrator seeks room for herself in the gap between arid profession and lively escapes from everyday life, between Osijek and global touristic travels, between everyday working life and all sorts of perusals. In her simple, but elaborate, in no way pathetic, inconspicuously documented, emotional and always witty letters to Irena, the author writes about her travel impressions, her literary and cultural observations based upon numerous qoutes, her family memories and recollections while trying to find her own "essence" and thus establish her own identity despite all the gaps and the dissipations facing her.
The book has been inspired by Irena's book Pisma mladoj ženi (Letters to a Young Woman). As an accomplished author, Irena Vrkljan has advertently accepted the role of a means to help the development of Jasna's persona and art, and Jasna has assumed the role of a young, talented woman who by meeting the great Irena develops her own personality and art in a diverse and splendid manner.

Gemfeather's sayings

  • Publisher: Naklada Ljevak
  • 2005
  • ISBN: 9531786666


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Slavs Mythology
By employing the chatty bird Alemperka (Gemfeather), the companion of the highest Slavic god Svarog, as narrator, Jasna Horvat passes on ancient Croatian myths that are hardly familiar anymore except from some folk songs, sayings, proverbs, and folk customs. The allegoric- symbolic tales and legends mirror the old Slavs’ view of the world’s organisation. They describe the creation of the world and of the first human beings, talk about the sky and the underworld, about the world tree, kind or evil gods, fairies, ghosts, and giants. Through their combination of rhymes and rhythmic prose, the texts perfectly lend themselves to reading aloud and are clearly reminiscent of folk poetry. The appendix, which explains names and specific terms to the readers, is also very useful. The illustrations resemble bright panel paintings and thus underline the symbolic character of the tales. They help young readers grasp the content of the texts even more easily. (8+)
The book Alemperkina kazivanja (Gemfeather’s Sayings) is an interesting, unusual, informative and sententious collection of short stories. Such a refreshingly shaped text woven by poetry and prose transfers the stock of the hereditary identity, which is an important part of the national identity recognition process in young readers in these globalizing times, in a simple way.
Jasna Horvat leads us through her stories into the world of more or less known legends, giving life to fairies, good and evil gods and goddesses. She offers the new dimension of reality with her poetic text interfering like a true expert of something that children’s sentiments can’t easily explore or understand.
Primarily, she nourishes positive attitude towards the tradition and teaches about the forgotten parts of the historical heritage.

Lost fairy

  • Publisher: Matica hrvatska Osijek
  • 2002
  • ISBN: 953613781X

In two marvelous texts of dramatic poetry (Izgubljena vila [The Lost Fairy] and Svevidovim tragom [Tracing Svevid]) Jasna Horvat takes us into the world of more or less known legends, giving life to fairies as well as good and evil gods and goddesses. She does that in a manner of someone who very well knows something that is not easy to know and understand – a child’s feelings and a pure child’s soul. I say a child’s feelings and a pure child’s soul, even though I think that these texts are intended for all readers who are ready and capable of diving into the huge world of imagination and legends.
Using good choice of topics, the arrangement and the sequence of pictures and events as well as numerous stylistic and verbal “reels” which give a special charm to these stories, these plays, although made up and fairy-tale-like, seem full of life, they are full of sparks and fresh, the words are ripe and strong – everything is simply in its place and everything is how the reader would want it to be and how it should be.
It could be expected that these plays are going to be performed because they deserve it with its undoubted literary value, but also with its splendor of pictures and implied colors, exciting and dynamic plot, but especially with the ability to adapt to the scene.

Antiatlas

  • Publisher: Naklada Ljevak
  • 2014
  • ISBN: 9789533037868


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Može li se putovanjem ostvariti potreba za upoznavanjem prostora i kultura? Nosimo li na putovanja ono što je doista potrebno i jesmo li na putovanjima drukčiji no inače? Kako se pokrećemo, koga upoznajemo i što pamtimo?
Pitanja su to na koja čitatelj može dobiti odgovor u Antiatlasu Jasne Horvat nastalom u Osijeku nakon autoričinih povrataka s najrazličitijih odredišta. Susreću se tu Indija i Jordan, Izrael i Meksiko, Kina i Brazil, Palma de Mallorca i Krk, Pariz i Barcelona, Moskva i Beograd, Kopenhagen i Tallinn, Sankt Peterburg i Helsinki, Stockholm i Beč te Zagreb i Osijek. Antiatlas donosi razmišljanja o ljudskoj pismenosti, o odlikama hebrejskog i majanskog pisma, Lullovoj Ars magni i hrvatskoj glagoljici, uspoređuje življenja po tradicijskom kanonu i po odlikama novoga doba. Antiatlas je knjiga i o suputnicima – važnom i vrijednom „začinu“ odjeljivanja iz kolotečine i svakodnevice, u njemu su portretirani važni kulturni predstavnici proputovanih destinacija, turistički vodiči, slučajni prolaznici, ali i autoričini bliski prijatelji.
Antiatlas je istodobno hommage putovanju, književnosti i prijateljstvu. On je kulturološka studija, intimni itinerarij te autoričin idearij u koji su upisani poticaji za stvaranje njezinih književnih tekstova. Neka od opisanih putovanja dio su tekstova koje je Jasna Horvat u tom trenutku ispisivala, a neka od putovanja nadahnula su autoricu za buduće, danas uglavnom ukoričene tekstove.
Osim što Antiatlas može poslužiti kao vodič i putnički priručnik onima koji putuju, ujedno je i vodič onim putnicima koji ne putuju već u svakodnevici traže putokaze za širenje vlastitih spoznaja o kulturi, filozofiji, povijesti i baštini. Time Jasna Horvat potvrđuje tezu kako je svaki dan jedno novo putovanje te da se tekstom ostvaruje odlazak u druge prostore jednako kao što se uobičajene vizure svakodnevice izoštreno uočavaju tek odlaskom i/ili pristankom na putovanje .
Moja zapisana putovanja moj su Antiatlas umnogome različit od onoga koji tražim. Pisala sam ga nazivajući samu sebe Alem­perkom – mitskom pticom pričalicom, a po uzoru na one putnike čija su traganja za idealnim mjestom ostala sačuvana posre­dovanjem pisane riječi. Ti su putnici Odisej i Don Quijote, Ksenofont sa svojim Efeškim pričama, Ibn al-Džubajr, Evlija Čelebija, Ibn Haukal, Lav Afrikanac, Dante s Božanstve­nom komedijom, a iz ovih naših krajeva – Marko Polo sa svojim Milijunom, Vladimir Mažuranić sa studijom Melek Jaše Dubrov­čanina, Hektorović sa Ribanjem i ribarskim prigovaranjem te najrazličitiji biblijski i jeruzalemski itinerariji i svi ostali tekstovi koji su ozbiljavali moju potrebu da imagi­narno ovjerim u stvarnom. Antiatlas okuplja stvarna zbivanja i stvarne mape te predstavlja jedan od načina kako se izgubiti u vremenu i pronaći u prostoru. U njemu se nalaze fragmentirani i izrabrani dijelovi putopisa koje sam pisala i u obliku pisama slala svojim prijateljima. Prvi dio započinje apodemijom – uzvikom najave kretanja na put – u njemu se istodobno susreću odlazak i povratak, umijeće puto­vanja i umijeće ostajanja, pisanje i čitanje, stvarno i imaginarno. Drugi dio nastajao je po uzoru na čuvenu ars apodemicu ili nauk o umijeću putovanja. U njemu sam razmiš­ljala o ovodobnom Homo viatoru – čovjeku u hodu i pokretu te sam mu namijenila svo­je podsjetnike koje koristim kao dio osobne metodike „umijeća putovanja“.

Vilijun

  • Publisher: Naklada Ljevak
  • 2016
  • ISBN: 9789533038872


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The novel Viijun (2016) by contemporary Croatian author Jasna Horvat is set in the year when the great ruler Kublai Khan and his confidant Marco Polo reach a parting of the ways. After the 17-years service in Kublai-Khan's Court, Marco Polo pleads to be allowed to return to the Kingdom of Croatia. Kublai Khan insists on Marco explaining the reasons why he should let him return home, which is at the same time the occasion for this fellowhisp at the very end of Kublai Khan's life.

Besides providing a comprehensive account of Croatia — his homeland on the Adriatic Sea where fairies, invisible women from the Kingdom of Croatia, dwell, Marco Polo also mentions experience he gained in the Khan's Empire, as well as the travellers going along the two routes on the Silk Road to bow before the Great Khan. In his accounts, Marco Polo mentions both Korčula, Šibenik, Venice – the cities on the coast of the Adritic Sea and the cities along the continental and sea trade routes on the Silk Road. Almost like a magic song, descriptions of mediaval stations emerge before the Great Khan's eyes. Literary connection between today's China and Europe is presented through descriptions of geographical locations, history and culture of the cities along the Maritime Sea Route, which take Marco back to Croatia and Europe (Bagan, Chengdu, Camblau, Hormuz, Arbil, Trabzon, Constantinople) by the author applying the concept of storytelling from an outside the time perspective. The Silk Road in two Marco's directions, from West to East and from East to West, generates in Vilijun a palindromic sequence of reading the same in either direction favoured in the poetics of the Oulipians – writers and mathematicians whose expression is very close to that of the author Jasna Horvat.
The plot takes place throughout a year in which Kublai Khan and Marco Polo spend their time at the Khan's residences. Here the reader finds out about the life of the Great Khan in the capital city Camblau, his hunting habits as well as the valuables of the Great Empire such as tea, spices, silk, porcelain, cashmere, paper and compass. By getting to know Kublai Khan more thoroughly the reader gets an insight into the wealth of the then Empire, the nomads travelling along the sea and continental route on the Silk Road and cultural exchange between East and West. On the occasion of their parting Marco Polo and Kublai Khan exchange gifts - Marco Polo is given the Map of the World and the Golden tablet – the special passport through the Khan's Empire, and Kublai Khan a salt nugget from the Kingdom of Croatia and the word million which was invented by Marco Polo to describe the greatness of Ancient China.

The novel Vilijun is adorned with numerous quotations from Coleridge's poem Kublai Khan or A Vision in a Dream , Orhan Pamuk's Snow , Jorge Luis Borges's The Dream of Coleridge or Calvin's Invisible Cities and many others. With these quotes, the novel becomes a literature catalogue of major world writers dealing with Kublai Khan and Marco Polo as the main theme in their literary texts. All of the above mentioned leads to the conclusion that the novel Vilijun connects the Great Empire with today's China, and today's China with cultural achievements of the Silk Route as pivotal, all-time link between East and West.

Atanor

  • Publisher: Naklada Ljevak
  • 2017
  • ISBN: 9789533550497


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Atanor je roman za čije se dubinsko čitanje ključ nalazi u periodnom sustavu elemenata položenom u središte ljudskoga postojanja. Likovi su metafore kemijskih elemenata, a životopisi i uloge u romanu određene su im svojstvima elemenata koje predstavljaju.
Radnja romana opisuje trenutak u kojemu je glavni lik Vatroslav Pero Horvat (vodik – špijun) doznao za nestanak Sunčice Davorke Završnik (helij – kemičarka znanstvenica). To dvoje junaka kozmički su povezani od postanka svijeta jer, kako doznajemo, helij je element nastao mutacijom vodika, prvog i kozmički najstarijeg elementa u periodnom sustavu elemenata. Takvim povezanostima zbog kojih smo jedni drugima kozmički i duhovni srodnici ne mogu umaknuti niti ostali likovi ovoga romana. Time je periodni sustav elemenata književna mapa, no ujedno i krvna slika kozmosa kroz koju se čita uloga svakog lika-elementa, a uzbudljiv zaplet Atanora pred čitatelje postavlja novu knjigu igračku koju je moguće čitati u svim smjerovima.
Naslov romana povezan je s enigmom ljudskoga tijela i rijetkih spoznaja. Kozmička peć (atanor) istodobno označava životvornu toplinu, težnju za stvaranjem plemenitih djela, ali i gibanja koja izgrađuju zbilju. Riječ je to kojom su alkemičari označavali peć za pripremanje eliksira besmrtnosti, oznakom je ljudskoga tijela te je time i pojednostavnjena slika kozmosa.
Atanor je posljednji u nizu oulipovskih romana Jasne Horvat i još jedna knjiga igračka otvorena mnogim raznovrsnim načinima čitanja. Atanor je i pametan roman jer su u njega ugrađeni QR kodovi, a čitatelji se njime koriste uz pomoć pametnih telefona.

Contact me

Contact info

  • Address : Gajev trg 7, 31000 Osijek, Hrvatska
  • E-mail : jasna@efos.hr, info@jasnahorvat.com
  • Fax : +385-91-21-16-04
  • Efos : Link

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