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Commit 5341b4ed authored by Marc's avatar Marc
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bootstrap hugo

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public/
.hugo_build.lock
themes/ananke
go.mod
go.sum
# This file is a template, and might need editing before it works on your project.
# To contribute improvements to CI/CD templates, please follow the Development guide at:
# https://docs.gitlab.com/ee/development/cicd/templates.html
# This specific template is located at:
# https://gitlab.com/gitlab-org/gitlab/-/blob/master/lib/gitlab/ci/templates/Pages/Hugo.gitlab-ci.yml
---
# All available Hugo versions are listed here:
# https://gitlab.com/pages/hugo/container_registry
image: "${CI_TEMPLATE_REGISTRY_HOST}/pages/hugo:0.111.3"
variables:
GIT_SUBMODULE_STRATEGY: recursive
test:
script:
- hugo
except:
variables:
- $CI_COMMIT_BRANCH == $CI_DEFAULT_BRANCH
pages:
script:
- hugo
artifacts:
paths:
- public
only:
variables:
- $CI_COMMIT_BRANCH == $CI_DEFAULT_BRANCH
environment: production
#
# This config.toml is an example and based on the ananke theme
# https://github.com/theNewDynamic/gohugo-theme-ananke/.
#
# If you use a different theme, you might need to change the content of config.toml
# to your liking.
#
#
# Theme setup
#
# If you use go mod to install your theme, you must use the URL of the theme.
# If your theme is in the themes directory, you just need to specify its name.
#
#theme = "ananke"
theme = ["github.com/theNewDynamic/gohugo-theme-ananke"]
baseurl = "https://marc-bouvier.fr"
title = "Marc Bouvier"
contentdir = "content"
layoutdir = "layouts"
publishdir = "public"
languageCode = "fr-fr"
resourceDir = "../resources"
DefaultContentLanguage = "fr"
SectionPagesMenu = "main"
Paginate = 10 # this is set low for demonstrating with dummy content. Set to a higher number
googleAnalytics = ""
enableRobotsTXT = true
[languages]
[languages.fr]
title = "Ananke Fr"
weight = 1
contentDir = "content/fr"
# [languages.en]
# title = "Ananke"
# weight = 2
# contentDir = "content/en"
[sitemap]
changefreq = "monthly"
priority = 0.5
filename = "sitemap.xml"
[params]
text_color = ""
author = ""
favicon = ""
site_logo = ""
description = "The last theme you'll ever need. Maybe."
# choose a background color from any on this page: http://tachyons.io/docs/themes/skins/ and preface it with "bg-"
background_color_class = "bg-black"
recent_posts_number = 10
# [[params.ananke_socials]]
# name = "twitter"
# url = "https://twitter.com/marcbouvier_"
#
#
# twitter
# youtube
# github
# gitlab
# gitlab
# linkedin
# mastodon
# stackoverflow
# facebook
# rss
---
title: "About"
description: "A few years ago, while visiting or, rather, rummaging about Notre-Dame, the author of this book found, in an obscure nook of one of the towers, the following word, engraved by hand upon the wall: —ANANKE."
featured_image: '/images/Victor_Hugo-Hunchback.jpg'
menu:
main:
weight: 1
---
{{< figure src="/images/Victor_Hugo-Hunchback.jpg" title="Illustration from Victor Hugo et son temps (1881)" >}}
_The Hunchback of Notre-Dame_ (French: _Notre-Dame de Paris_) is a French Romantic/Gothic novel by Victor Hugo, published in 1831. The original French title refers to Notre Dame Cathedral, on which the story is centered. English translator Frederic Shoberl named the novel The Hunchback of Notre Dame in 1833 because at the time, Gothic novels were more popular than Romance novels in England. The story is set in Paris, France in the Late Middle Ages, during the reign of Louis XI.
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---
title: "Articles"
date: 2017-03-02T12:00:00-05:00
---
Articles are paginated with only three posts here for example. You can set the number of entries to show on this page with the "pagination" setting in the config file.
Search...
---
date: 2017-04-09T10:58:08-04:00
description: "The Grand Hall"
featured_image: "/images/Pope-Edouard-de-Beaumont-1844.jpg"
tags: ["scene"]
title: "Chapter I: The Grand Hall"
---
Three hundred and forty-eight years, six months, and nineteen days ago
to-day, the Parisians awoke to the sound of all the bells in the triple
circuit of the city, the university, and the town ringing a full peal.
The sixth of January, 1482, is not, however, a day of which history has
preserved the memory. There was nothing notable in the event which thus
set the bells and the bourgeois of Paris in a ferment from early morning.
It was neither an assault by the Picards nor the Burgundians, nor a hunt
led along in procession, nor a revolt of scholars in the town of Laas, nor
an entry of “our much dread lord, monsieur the king,” nor even a pretty
hanging of male and female thieves by the courts of Paris. Neither was it
the arrival, so frequent in the fifteenth century, of some plumed and
bedizened embassy. It was barely two days since the last cavalcade of that
nature, that of the Flemish ambassadors charged with concluding the
marriage between the dauphin and Marguerite of Flanders, had made its
entry into Paris, to the great annoyance of M. le Cardinal de Bourbon,
who, for the sake of pleasing the king, had been obliged to assume an
amiable mien towards this whole rustic rabble of Flemish burgomasters, and
to regale them at his Hôtel de Bourbon, with a very “pretty morality,
allegorical satire, and farce,” while a driving rain drenched the
magnificent tapestries at his door.
What put the “whole population of Paris in commotion,” as Jehan de Troyes
expresses it, on the sixth of January, was the double solemnity, united
from time immemorial, of the Epiphany and the Feast of Fools.
On that day, there was to be a bonfire on the Place de Grève, a maypole at
the Chapelle de Braque, and a mystery at the Palais de Justice. It had
been cried, to the sound of the trumpet, the preceding evening at all the
cross roads, by the provost’s men, clad in handsome, short, sleeveless
coats of violet camelot, with large white crosses upon their breasts.
So the crowd of citizens, male and female, having closed their houses and
shops, thronged from every direction, at early morn, towards some one of
the three spots designated.
Each had made his choice; one, the bonfire; another, the maypole; another,
the mystery play. It must be stated, in honor of the good sense of the
loungers of Paris, that the greater part of this crowd directed their
steps towards the bonfire, which was quite in season, or towards the
mystery play, which was to be presented in the grand hall of the Palais de
Justice (the courts of law), which was well roofed and walled; and that
the curious left the poor, scantily flowered maypole to shiver all alone
beneath the sky of January, in the cemetery of the Chapel of Braque.
The populace thronged the avenues of the law courts in particular, because
they knew that the Flemish ambassadors, who had arrived two days
previously, intended to be present at the representation of the mystery,
and at the election of the Pope of the Fools, which was also to take place
in the grand hall.
It was no easy matter on that day, to force one’s way into that grand
hall, although it was then reputed to be the largest covered enclosure in
the world (it is true that Sauval had not yet measured the grand hall of
the Château of Montargis). The palace place, encumbered with people,
offered to the curious gazers at the windows the aspect of a sea; into
which five or six streets, like so many mouths of rivers, discharged every
moment fresh floods of heads. The waves of this crowd, augmented
incessantly, dashed against the angles of the houses which projected here
and there, like so many promontories, into the irregular basin of the
place. In the centre of the lofty Gothic* façade of the palace, the grand
staircase, incessantly ascended and descended by a double current, which,
after parting on the intermediate landing-place, flowed in broad waves
along its lateral slopes,—the grand staircase, I say, trickled
incessantly into the place, like a cascade into a lake. The cries, the
laughter, the trampling of those thousands of feet, produced a great noise
and a great clamor. From time to time, this noise and clamor redoubled;
the current which drove the crowd towards the grand staircase flowed
backwards, became troubled, formed whirlpools. This was produced by the
buffet of an archer, or the horse of one of the provost’s sergeants, which
kicked to restore order; an admirable tradition which the provostship has
bequeathed to the constablery, the constablery to the _maréchaussée_,
the _maréchaussée_ to our _gendarmeri_ of Paris.
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---
date: 2017-04-10T11:00:59-04:00
description: "Pierre Gringoire"
featured_image: ""
tags: []
title: "Chapter II: Pierre Gringoire"
---
Nevertheless, as be harangued them, the satisfaction and admiration
unanimously excited by his costume were dissipated by his words; and when
he reached that untoward conclusion: “As soon as his illustrious eminence,
the cardinal, arrives, we will begin,” his voice was drowned in a thunder
of hooting.
“Begin instantly! The mystery! the mystery immediately!” shrieked the
people. And above all the voices, that of Johannes de Molendino was
audible, piercing the uproar like the fife’s derisive serenade: “Commence
instantly!” yelped the scholar.
“Down with Jupiter and the Cardinal de Bourbon!” vociferated Robin
Poussepain and the other clerks perched in the window.
“The morality this very instant!” repeated the crowd; “this very instant!
the sack and the rope for the comedians, and the cardinal!”
Poor Jupiter, haggard, frightened, pale beneath his rouge, dropped his
thunderbolt, took his cap in his hand; then he bowed and trembled and
stammered: “His eminence—the ambassadors—Madame Marguerite of
Flanders—.” He did not know what to say. In truth, he was afraid of
being hung.
Hung by the populace for waiting, hung by the cardinal for not having
waited, he saw between the two dilemmas only an abyss; that is to say, a
gallows.
Luckily, some one came to rescue him from his embarrassment, and assume
the responsibility.
An individual who was standing beyond the railing, in the free space
around the marble table, and whom no one had yet caught sight of, since
his long, thin body was completely sheltered from every visual ray by the
diameter of the pillar against which he was leaning; this individual, we
say, tall, gaunt, pallid, blond, still young, although already wrinkled
about the brow and cheeks, with brilliant eyes and a smiling mouth, clad
in garments of black serge, worn and shining with age, approached the
marble table, and made a sign to the poor sufferer. But the other was so
confused that he did not see him. The new comer advanced another step.
“Jupiter,” said he, “my dear Jupiter!”
The other did not hear.
At last, the tall blond, driven out of patience, shrieked almost in his
face,—
“Michel Giborne!”
“Who calls me?” said Jupiter, as though awakened with a start.
“I,” replied the person clad in black.
“Ah!” said Jupiter.
“Begin at once,” went on the other. “Satisfy the populace; I undertake to
appease the bailiff, who will appease monsieur the cardinal.”
Jupiter breathed once more.
“Messeigneurs the bourgeois,” he cried, at the top of his lungs to the
crowd, which continued to hoot him, “we are going to begin at once.”
“_Evoe Jupiter! Plaudite cives_! All hail, Jupiter! Applaud,
citizens!” shouted the scholars.
“Noel! Noel! good, good,” shouted the people.
The hand clapping was deafening, and Jupiter had already withdrawn under
his tapestry, while the hall still trembled with acclamations.
In the meanwhile, the personage who had so magically turned the tempest
into dead calm, as our old and dear Corneille puts it, had modestly
retreated to the half-shadow of his pillar, and would, no doubt, have
remained invisible there, motionless, and mute as before, had he not been
plucked by the sleeve by two young women, who, standing in the front row
of the spectators, had noticed his colloquy with Michel Giborne-Jupiter.
“Master,” said one of them, making him a sign to approach. “Hold your
tongue, my dear Liénarde,” said her neighbor, pretty, fresh, and very
brave, in consequence of being dressed up in her best attire. “He is not a
clerk, he is a layman; you must not say master to him, but messire.”
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---
title: "Hugo and GitLab Pages"
description: "A Hugo site built with GitLab Pages"
cascade:
featured_image: '/images/gohugo-default-sample-hero-image.jpg'
---
This website is powered by [GitLab Pages](https://about.gitlab.com/features/pages/)
and [Hugo](https://gohugo.io), and can be built in under 1 minute.
Literally. It uses the [`ananke` theme](https://github.com/theNewDynamic/gohugo-theme-ananke)
which supports content on your front page.
Edit `/content/en/_index.md` to change what appears here. Delete `/content/en/_index.md`
if you don't want any content here.
Head over to the [GitLab project](https://gitlab.com/pages/hugo) to get started.
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---
title: Contact
featured_image: ''
omit_header_text: true
description: Laissez-nous un message!
type: page
menu: main
---
Ceci est la page de contact en Français.
This is an example of a custom shortcode that you can put right into your content. You will need to add a form action to the shortcode to make it work.
Read more on [how to enable the contact form](https://github.com/theNewDynamic/gohugo-theme-ananke/#activate-the-contact-form).
{{< form-contact action="https://example.com" >}}
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---
title: "Articles"
date: 2017-03-02T12:00:00-05:00
---
Exemple de liste d'article français.
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---
date: 2017-04-09T10:58:08-04:00
description: "La grande halle"
featured_image: "/images/Pope-Edouard-de-Beaumont-1844.jpg"
tags: ["scene"]
title: "Chapitre I: La grande halle"
---
Généralement, on utilise un texte en faux latin (le texte ne veut rien dire, il a été modifié), le Lorem ipsum ou Lipsum, qui permet donc de faire office de texte d'attente. L'avantage de le mettre en latin est que l'opérateur sait au premier coup d'oeil que la page contenant ces lignes n'est pas valide, et surtout l'attention du client n'est pas dérangée par le contenu, il demeure concentré seulement sur l'aspect graphique.
Ce texte a pour autre avantage d'utiliser des mots de longueur variable, essayant de simuler une occupation normale. La méthode simpliste consistant à copier-coller un court texte plusieurs fois (« ceci est un faux-texte ceci est un faux-texte ceci est un faux-texte ceci est un faux-texte ceci est un faux-texte ») a l'inconvénient de ne pas permettre une juste appréciation typographique du résultat final.
Il circule des centaines de versions différentes du Lorem ipsum, mais ce texte aurait originellement été tiré de l'ouvrage de Cicéron, De Finibus Bonorum et Malorum (Liber Primus, 32), texte populaire à cette époque, dont l'une des premières phrases est : « Neque porro quisquam est qui dolorem ipsum quia dolor sit amet, consectetur, adipisci velit... » (« Il n'existe personne qui aime la souffrance pour elle-même, ni qui la recherche ni qui la veuille pour ce qu'elle est... »).
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