From a5c7667d0ad92e7a621498757d2e4bd1fbf98731 Mon Sep 17 00:00:00 2001 From: yv_pic Date: Wed, 30 Dec 2020 12:41:09 +0100 Subject: [PATCH] initial git commit -a -m initial --- archetypes/default.md | 6 + assets/css/userstyles.css | 619 +++ config [conflicted].toml | 35 + config.toml | 33 + .../La Petite Passe tranquille/_index.md | 9 + .../La Petite Passe tranquille/chapter-6.md | 99 + .../Là eussent dû être des amis/_index.md | 9 + content/Recueils/Nouvelles/_index.md | 9 + content/Recueils/Poésies & Chansons/_index.md | 9 + content/Recueils/_index.md | 11 + content/Récits/La Justice apparente/_index.md | 9 + .../_index.md | 9 + content/Récits/Les Terre-pleins/Prologue.md | 19 + content/Récits/Les Terre-pleins/Prologue.md~ | 18 + content/Récits/Les Terre-pleins/_index.md | 9 + content/Récits/Les Terre-pleins/chapter-1.md | 81 + content/Récits/Les Terre-pleins/chapter-2.md | 90 + content/Récits/Les Terre-pleins/chapter-3.md | 100 + content/Récits/Les Terre-pleins/chapter-4.md | 86 + content/Récits/Les Terre-pleins/chapter-5.md | 17 + content/Récits/Les Terre-pleins/chapter-6.md | 100 + content/Récits/_index.md | 10 + content/Résumés/Résumés.md | 16 + content/_index.md | 47 + data/social.yaml | 511 ++ themes/notrack/LICENSE.md | 674 +++ themes/notrack/README.md | 492 ++ themes/notrack/archetypes/blog.md | 9 + themes/notrack/archetypes/default.md | 8 + themes/notrack/archetypes/post.md | 9 + themes/notrack/data/notrack/social.yaml | 511 ++ themes/notrack/exampleSite/.gitmodules | 3 + .../notrack/exampleSite/archetypes/default.md | 6 + themes/notrack/exampleSite/config.toml | 34 + themes/notrack/exampleSite/content/_index.md | 30 + .../exampleSite/content/archive/_index.md | 8 + .../exampleSite/content/blog/_index.md | 11 + .../exampleSite/content/blog/id-modi.md | 59 + .../notrack/exampleSite/content/blog/lorem.md | 110 + .../content/blog/markdown-syntax.md | 147 + .../exampleSite/content/blog/rich-content.md | 42 + .../content/blog/tempora-maxime.md | 31 + .../exampleSite/content/categories/_index.md | 9 + themes/notrack/exampleSite/content/contact.md | 21 + .../exampleSite/content/hugo-gallery.md | 24 + themes/notrack/exampleSite/content/resume.md | 74 + .../exampleSite/content/tags/_index.md | 9 + .../exampleSite/static/img/fullsize/hugo1.jpg | Bin 0 -> 1533128 bytes .../exampleSite/static/img/fullsize/hugo2.jpg | Bin 0 -> 2223548 bytes .../exampleSite/static/img/fullsize/hugo3.jpg | Bin 0 -> 3983564 bytes .../exampleSite/static/img/fullsize/hugo4.jpg | Bin 0 -> 8462854 bytes .../exampleSite/static/img/fullsize/hugo5.jpg | Bin 0 -> 541414 bytes .../exampleSite/static/img/hugo-portrait.jpg | Bin 0 -> 76409 bytes .../static/img/thumbnails/hugo1.jpg | Bin 0 -> 10011 bytes .../static/img/thumbnails/hugo2.jpg | Bin 0 -> 15035 bytes .../static/img/thumbnails/hugo3.jpg | Bin 0 -> 19207 bytes .../static/img/thumbnails/hugo4.jpg | Bin 0 -> 26726 bytes .../static/img/thumbnails/hugo5.jpg | Bin 0 -> 48573 bytes themes/notrack/images/screenshot.png | Bin 0 -> 595769 bytes themes/notrack/images/social-links.png | Bin 0 -> 145179 bytes themes/notrack/images/tn.png | Bin 0 -> 314613 bytes themes/notrack/layouts/404.html | 5 + themes/notrack/layouts/_default/archives.html | 29 + themes/notrack/layouts/_default/baseof.html | 10 + themes/notrack/layouts/_default/list.html | 52 + themes/notrack/layouts/_default/rss.xml | 48 + themes/notrack/layouts/_default/single.html | 24 + themes/notrack/layouts/home.html | 41 + .../layouts/partials/blog-entry-summary.html | 10 + .../layouts/partials/blog-taxonomy-info.html | 17 + themes/notrack/layouts/partials/footer.html | 2 + themes/notrack/layouts/partials/head.html | 17 + themes/notrack/layouts/partials/header.html | 70 + .../notrack/layouts/partials/pagination.html | 43 + .../layouts/partials/post-category-link.html | 1 + .../layouts/partials/post-tag-link.html | 1 + .../layouts/shortcodes/contact-box.html | 25 + .../notrack/layouts/shortcodes/container.html | 3 + .../layouts/shortcodes/gallery-category.html | 4 + .../layouts/shortcodes/gallery-modal.html | 8 + .../layouts/shortcodes/gallery-photo.html | 4 + .../layouts/shortcodes/gallery-script.html | 1 + themes/notrack/layouts/shortcodes/image.html | 32 + .../notrack/layouts/shortcodes/rawhtml.html | 1 + .../layouts/shortcodes/resume-category.html | 1 + .../layouts/shortcodes/resume-entry.html | 31 + .../layouts/shortcodes/resume-section.html | 6 + themes/notrack/layouts/shortcodes/social.html | 26 + themes/notrack/layouts/shortcodes/video.html | 5 + themes/notrack/layouts/taxonomy/list.html | 28 + themes/notrack/layouts/taxonomy/terms.html | 11 + themes/notrack/static/css/fontawesome.css | 4522 +++++++++++++++++ themes/notrack/static/css/fonts.css | 99 + themes/notrack/static/css/styles.css | 617 +++ themes/notrack/static/css/styles.scss | 804 +++ themes/notrack/static/fonts/FreeMono.woff | Bin 0 -> 303208 bytes themes/notrack/static/fonts/FreeMonoBold.woff | Bin 0 -> 160976 bytes .../static/fonts/FreeMonoBoldOblique.woff | Bin 0 -> 169936 bytes .../notrack/static/fonts/FreeMonoOblique.woff | Bin 0 -> 221780 bytes .../notrack/static/fonts/FreeSans-small.woff | Bin 0 -> 21884 bytes themes/notrack/static/fonts/FreeSans.woff | Bin 0 -> 804172 bytes .../static/fonts/FreeSansBold-small.woff | Bin 0 -> 22612 bytes themes/notrack/static/fonts/FreeSansBold.woff | Bin 0 -> 235612 bytes .../static/fonts/FreeSansBoldOblique.woff | Bin 0 -> 193248 bytes .../notrack/static/fonts/FreeSansOblique.woff | Bin 0 -> 372656 bytes .../notrack/static/fonts/FreeSerif-small.woff | Bin 0 -> 54956 bytes themes/notrack/static/fonts/FreeSerif.woff | Bin 0 -> 1700440 bytes .../static/fonts/FreeSerifBold-small.woff | Bin 0 -> 27280 bytes .../notrack/static/fonts/FreeSerifBold.woff | Bin 0 -> 546580 bytes .../fonts/FreeSerifBoldItalic-small.woff | Bin 0 -> 29496 bytes .../static/fonts/FreeSerifBoldItalic.woff | Bin 0 -> 301756 bytes .../static/fonts/FreeSerifItalic-small.woff | Bin 0 -> 29404 bytes .../notrack/static/fonts/FreeSerifItalic.woff | Bin 0 -> 482692 bytes .../notrack/static/fonts/fa-brands-400.woff2 | Bin 0 -> 76576 bytes .../notrack/static/fonts/fa-solid-900.woff2 | Bin 0 -> 79464 bytes .../notrack/static/fonts/mononoki-Bold.woff2 | Bin 0 -> 33576 bytes .../static/fonts/mononoki-BoldItalic.woff2 | Bin 0 -> 37108 bytes .../static/fonts/mononoki-Italic.woff2 | Bin 0 -> 35116 bytes .../static/fonts/mononoki-Regular.woff2 | Bin 0 -> 32456 bytes themes/notrack/static/js/gallery.js | 139 + themes/notrack/theme.toml | 12 + 121 files changed, 11031 insertions(+) create mode 100644 archetypes/default.md create mode 100644 assets/css/userstyles.css create mode 100644 config [conflicted].toml create mode 100644 config.toml create mode 100644 content/Recueils/La Petite Passe tranquille/_index.md create mode 100644 content/Recueils/La Petite Passe tranquille/chapter-6.md create mode 100644 content/Recueils/Là eussent dû être des amis/_index.md create mode 100644 content/Recueils/Nouvelles/_index.md create mode 100644 content/Recueils/Poésies & Chansons/_index.md create mode 100644 content/Recueils/_index.md create mode 100644 content/Récits/La Justice apparente/_index.md create mode 100644 content/Récits/Les Petits-enfants de madame Peron/_index.md create mode 100644 content/Récits/Les Terre-pleins/Prologue.md create mode 100644 content/Récits/Les Terre-pleins/Prologue.md~ create mode 100644 content/Récits/Les Terre-pleins/_index.md create mode 100644 content/Récits/Les Terre-pleins/chapter-1.md create mode 100644 content/Récits/Les Terre-pleins/chapter-2.md create mode 100644 content/Récits/Les Terre-pleins/chapter-3.md create mode 100644 content/Récits/Les Terre-pleins/chapter-4.md create mode 100644 content/Récits/Les Terre-pleins/chapter-5.md create mode 100644 content/Récits/Les Terre-pleins/chapter-6.md create mode 100644 content/Récits/_index.md create mode 100644 content/Résumés/Résumés.md create mode 100644 content/_index.md create mode 100644 data/social.yaml create mode 100644 themes/notrack/LICENSE.md create mode 100644 themes/notrack/README.md create mode 100644 themes/notrack/archetypes/blog.md create mode 100644 themes/notrack/archetypes/default.md create mode 100644 themes/notrack/archetypes/post.md create mode 100644 themes/notrack/data/notrack/social.yaml create mode 100644 themes/notrack/exampleSite/.gitmodules create mode 100644 themes/notrack/exampleSite/archetypes/default.md create mode 100644 themes/notrack/exampleSite/config.toml create mode 100644 themes/notrack/exampleSite/content/_index.md create mode 100644 themes/notrack/exampleSite/content/archive/_index.md create mode 100644 themes/notrack/exampleSite/content/blog/_index.md create mode 100644 themes/notrack/exampleSite/content/blog/id-modi.md create mode 100644 themes/notrack/exampleSite/content/blog/lorem.md create mode 100644 themes/notrack/exampleSite/content/blog/markdown-syntax.md create mode 100644 themes/notrack/exampleSite/content/blog/rich-content.md create mode 100644 themes/notrack/exampleSite/content/blog/tempora-maxime.md create mode 100644 themes/notrack/exampleSite/content/categories/_index.md create mode 100644 themes/notrack/exampleSite/content/contact.md create mode 100644 themes/notrack/exampleSite/content/hugo-gallery.md create mode 100644 themes/notrack/exampleSite/content/resume.md create mode 100644 themes/notrack/exampleSite/content/tags/_index.md create mode 100644 themes/notrack/exampleSite/static/img/fullsize/hugo1.jpg create mode 100644 themes/notrack/exampleSite/static/img/fullsize/hugo2.jpg create mode 100644 themes/notrack/exampleSite/static/img/fullsize/hugo3.jpg create mode 100644 themes/notrack/exampleSite/static/img/fullsize/hugo4.jpg create mode 100644 themes/notrack/exampleSite/static/img/fullsize/hugo5.jpg create mode 100644 themes/notrack/exampleSite/static/img/hugo-portrait.jpg create mode 100644 themes/notrack/exampleSite/static/img/thumbnails/hugo1.jpg create mode 100644 themes/notrack/exampleSite/static/img/thumbnails/hugo2.jpg create mode 100644 themes/notrack/exampleSite/static/img/thumbnails/hugo3.jpg create mode 100644 themes/notrack/exampleSite/static/img/thumbnails/hugo4.jpg create mode 100644 themes/notrack/exampleSite/static/img/thumbnails/hugo5.jpg create mode 100644 themes/notrack/images/screenshot.png create mode 100644 themes/notrack/images/social-links.png create mode 100644 themes/notrack/images/tn.png create mode 100644 themes/notrack/layouts/404.html create mode 100644 themes/notrack/layouts/_default/archives.html create mode 100644 themes/notrack/layouts/_default/baseof.html create mode 100644 themes/notrack/layouts/_default/list.html create mode 100644 themes/notrack/layouts/_default/rss.xml create mode 100644 themes/notrack/layouts/_default/single.html create mode 100644 themes/notrack/layouts/home.html create mode 100644 themes/notrack/layouts/partials/blog-entry-summary.html create mode 100644 themes/notrack/layouts/partials/blog-taxonomy-info.html create mode 100644 themes/notrack/layouts/partials/footer.html create mode 100644 themes/notrack/layouts/partials/head.html create mode 100644 themes/notrack/layouts/partials/header.html create mode 100644 themes/notrack/layouts/partials/pagination.html create mode 100644 themes/notrack/layouts/partials/post-category-link.html create mode 100644 themes/notrack/layouts/partials/post-tag-link.html create mode 100644 themes/notrack/layouts/shortcodes/contact-box.html create mode 100644 themes/notrack/layouts/shortcodes/container.html create mode 100644 themes/notrack/layouts/shortcodes/gallery-category.html create mode 100644 themes/notrack/layouts/shortcodes/gallery-modal.html create mode 100644 themes/notrack/layouts/shortcodes/gallery-photo.html create mode 100644 themes/notrack/layouts/shortcodes/gallery-script.html create mode 100644 themes/notrack/layouts/shortcodes/image.html create mode 100644 themes/notrack/layouts/shortcodes/rawhtml.html create mode 100644 themes/notrack/layouts/shortcodes/resume-category.html create mode 100644 themes/notrack/layouts/shortcodes/resume-entry.html create mode 100644 themes/notrack/layouts/shortcodes/resume-section.html create mode 100644 themes/notrack/layouts/shortcodes/social.html create mode 100644 themes/notrack/layouts/shortcodes/video.html create mode 100644 themes/notrack/layouts/taxonomy/list.html create mode 100644 themes/notrack/layouts/taxonomy/terms.html create mode 100644 themes/notrack/static/css/fontawesome.css create mode 100644 themes/notrack/static/css/fonts.css create mode 100644 themes/notrack/static/css/styles.css create mode 100644 themes/notrack/static/css/styles.scss create mode 100644 themes/notrack/static/fonts/FreeMono.woff create mode 100644 themes/notrack/static/fonts/FreeMonoBold.woff create mode 100644 themes/notrack/static/fonts/FreeMonoBoldOblique.woff create mode 100644 themes/notrack/static/fonts/FreeMonoOblique.woff create mode 100644 themes/notrack/static/fonts/FreeSans-small.woff create mode 100644 themes/notrack/static/fonts/FreeSans.woff create mode 100644 themes/notrack/static/fonts/FreeSansBold-small.woff create mode 100644 themes/notrack/static/fonts/FreeSansBold.woff create mode 100644 themes/notrack/static/fonts/FreeSansBoldOblique.woff create mode 100644 themes/notrack/static/fonts/FreeSansOblique.woff create mode 100644 themes/notrack/static/fonts/FreeSerif-small.woff create mode 100644 themes/notrack/static/fonts/FreeSerif.woff create mode 100644 themes/notrack/static/fonts/FreeSerifBold-small.woff create mode 100644 themes/notrack/static/fonts/FreeSerifBold.woff create mode 100644 themes/notrack/static/fonts/FreeSerifBoldItalic-small.woff create mode 100644 themes/notrack/static/fonts/FreeSerifBoldItalic.woff create mode 100644 themes/notrack/static/fonts/FreeSerifItalic-small.woff create mode 100644 themes/notrack/static/fonts/FreeSerifItalic.woff create mode 100644 themes/notrack/static/fonts/fa-brands-400.woff2 create mode 100644 themes/notrack/static/fonts/fa-solid-900.woff2 create mode 100644 themes/notrack/static/fonts/mononoki-Bold.woff2 create mode 100644 themes/notrack/static/fonts/mononoki-BoldItalic.woff2 create mode 100644 themes/notrack/static/fonts/mononoki-Italic.woff2 create mode 100644 themes/notrack/static/fonts/mononoki-Regular.woff2 create mode 100644 themes/notrack/static/js/gallery.js create mode 100644 themes/notrack/theme.toml diff --git a/archetypes/default.md b/archetypes/default.md new file mode 100644 index 0000000..00e77bd --- /dev/null +++ b/archetypes/default.md @@ -0,0 +1,6 @@ +--- +title: "{{ replace .Name "-" " " | title }}" +date: {{ .Date }} +draft: true +--- + diff --git a/assets/css/userstyles.css b/assets/css/userstyles.css new file mode 100644 index 0000000..b46b485 --- /dev/null +++ b/assets/css/userstyles.css @@ -0,0 +1,619 @@ +@charset "UTF-8"; +body { + margin: 0; + overflow-y: scroll; + font-size: 1.21em; + line-height: 1.21; + font-family: FreeSerif, serif; } + @media (min-width: 64em) { + body { + font-size: 1.32em; + line-height: 1.32; } } + @media (min-width: 85.375em) { + body { + font-size: 1.43em; } } + @media (min-width: 120em) { + body { + font-size: 1.54em; } } + @media (min-width: 160em) { + body { + font-size: 1.76em; } } +/*largest screens. yp augmenté les % de 2 pts*/ +main { + display: block; + margin: 0; + padding: 1em 1em; + background-color: FEFEFD; } +/*couleur yp*/ + @media (min-width: 48em) { + main { + margin: 0 17%; } } + @media (min-width: 64em) { + main { + margin: 0 20%; } } + @media (min-width: 85.375em) { + main { + margin: 0 23%; } } + @media (min-width: 120em) { + main { + margin: 0 26%; } } + @media (min-width: 160em) { + main { + margin: 0 29%; } } +a { + font-family: FreeSerif, serif; + color: #07608f; + text-decoration: none; } + +h1, h2, h3, h4, h5, h6 { + font-family: Ubuntu, sans-serif; + font-weight: bold; + font-style: normal; + color: #008080; } + +p, li { + color: #444; + font-family: FreeSerif, serif; + text-align: justify; } + +strong { + font-style: normal; + font-family: FreeSerif, serif; + font-weight: bold; } + +em { + font-style: normal; + font-family: FreeSerif, serif; + font-style: italic; } + +kbd, code { + font-family: Mononoki, monospace; + color: #444; + background-color: #f3f3f3; + font-size: 0.9em; } + +pre { + background-color: #f6f8fa; + padding: 0.5em; } + pre code { + background-color: transparent; } + +th { + font-family: FreeSerif, serif; + font-weight: bold; + color: #444; } + +td { + font-family: FreeSerif, serif; + color: #444; } + +.footnotes ol li { + font-family: FreeSerif, serif; + font-size: 0.8em; } + +figure.image-shortcode { + margin: 1em auto; } + figure.image-shortcode img { + width: 100%; } + @media (max-width: 28em) { + figure.image-shortcode { + width: 100% !important; } } +figure.wide { + display: flex; + flex-direction: column; + align-items: center; } + figure.wide img { + width: 90vw; + padding-bottom: 0.5em; } + +figure.right, .right { + float: right; + margin: 0 0 0.5em 1em; } + @media (max-width: 28em) { + figure.right, .right { + margin-bottom: 1.0em; } } +figure.right:first-child, .right:first-child { + margin-top: 1em; } + +figure.left, .left { + float: left; + margin: 0 1em 0.5em 0; } + @media (max-width: 28em) { + figure.left, .left { + margin-bottom: 1.0em; } } +figure.left:first-child, .left:first-child { + margin-top: 1em; + color: blue; } + +figure.frame { + background-color: #f7f7f7; + border: 1px solid #bbb; + border-radius: 0.2em; + padding: 0.5em; + box-sizing: border-box; } + figure.frame img { + border: 1px solid #bbb; } + figure.frame figcaption { + border: none; } + +figcaption { + font-size: 0.8em; + padding: 0; + width: 100%; + margin: 0 0 0.5em 0; + border-bottom: 1px solid #666674; } + figcaption p { + margin-top: 0em; + color: #666674; + text-align: left; } + figcaption h4 { + margin: 0.3em 0; + color: #444; + text-align: left; } + +.page-title { + text-align: center; + font-size: 1.9em; + color: #008080 } + +.page-title.blog { + text-align: left; + margin-bottom: 0.5em; } + +nav { + display: flex; + justify-content: flex-end; + flex-flow: row wrap; + overflow: hidden; + margin: auto 2% .6em auto; + padding-left: 2em; } + +nav ul { + list-style-type: none; + margin: 0; } + +nav li { + background-color: inherit; + float: left; + cursor: pointer; + padding: 0; + margin: 0; + border-width: 0 0 .3em 0; + border-color: transparent; + border-style: solid; + display: inline-block; } + +nav a { + color: #444; + padding: .25em .63em; + font-family: Infini, sans-serif; + font-size: 1.2em; + display: block; } + +nav li:hover { + border-color: #ddd; } + +.dropdown .sub-menu { + display: none; + position: absolute; + background-color: #f9f9f9; + color: #444; + cursor: pointer; + border-width: 0 0 .3em 0; + min-width: 6em; + margin-top: .3em; + box-shadow: 0px 8px 16px 0px rgba(0, 0, 0, 0.2); + z-index: 1; } + +.dropdown:hover .sub-menu { + display: block; } + +.sub-menu a:hover { + background-color: #474a4f; + color: white; } + +.sub-menu a { + display: block; + text-align: left; + padding: .2em .63em; + color: #444; } + +.dropdown.activetab, .activetab, li.activetab { + background-color: #474a4f; + border-color: white; } + +.activetab > a, a.activetab { + color: white; } + +.page-header { + border-bottom: 1px solid black; + text-align: center; + display: flex; + flex-flow: row wrap; + margin: 1em 1em 0 1em; } + +.myname { + margin: 0 auto 0 0; + padding: 0 0 .25em .25em; + font-size: 2em; } + +.myname a { + color: #804000; + text-decoration: none; + font-family: Infini; + font-style: italic; + font-weight: bold; } + +.myname h2 { + margin: 0; } + +.blog-post-summary { + margin: 0; } + @media (min-width: 28em) { + .blog-post-summary { + margin: 2em; } } +#latest-blog-home { + text-align: center; + font-size: 2em; } + +.delimiter { + font-size: 2em; + text-align: center; } + +.blog-post-title { + margin-bottom: 0.2em; + padding-bottom: 0; + font-size: 1.6em; } + .blog-post-title a { + color: #804000; + font-family: Ubuntu, sans-serif; } + +.blog-post-info { + margin: 0.2em 0; + font-size: 0.8em; + color: #5f5a6f; + margin-left: 1em; + text-align: left; } + .blog-post-info a { + text-transform: capitalize; } + +em.taxonomy-emph { + font-family: FreeSans, sans-serif; + font-style: oblique; } + +.blog-post-content h1 { + font-size: 1.4em; } + +.blog-post-content h2 { + font-size: 1.3em; } + +.blog-post-content h3 { + font-size: 1.2em; } + +.blog-post-content h4 { + font-size: 1.1em; } + +.taxonomy-links ul { + list-style-type: none; + display: flex; + justify-content: center; + margin: 0; + padding: 0; + border-bottom: 2px solid #444; } + .taxonomy-links ul li { + flex-grow: 1; + margin: 1em 0.5em; + width: 100%; + display: flex; } + .taxonomy-links ul li a { + display: inline-block; + background-color: #ddd; + font-size: 1.5em; + text-align: center; + color: #444; + padding: .5em; + flex-grow: 1; + text-transform: capitalize; } + +.pagination { + list-style-type: none; + font-family: FreeSans, sans-serif; + display: flex; + justify-content: center; + margin: 1em; + padding: 0; } + +.page-item { + color: #444; + display: inline-block; + padding: .2em .6em; } + .page-item a { + color: #444; } + +.page-item.active { + background-color: #474a4f; } + .page-item.active a { + background-color: #474a4f; + color: white; } + +.resume-content { + display: flex; + flex-flow: row wrap; } + +.category-title { + text-align: left; + width: 8em; + padding: .5em; + flex: 1 3 auto; } + .category-title h4 { + margin: 0 0.5em 0 0; + font-size: 1.3em; } + +.category-content { + flex: 2 1 65%; + padding: .5em; } + .category-content a { + color: #4c7e99; } + .category-content p { + margin: 0; + font-size: 0.9em; + color: #5f5a6f; } + .category-content ul { + list-style-type: "– "; } + .category-content ul, .category-content ol { + font-family: FreeSans, sans-serif; + margin-top: 0; } + .category-content li { + font-size: 0.9em; + color: #5f5a6f; } + +.resume-entry { + margin: 0 0 1em 0; } + .resume-entry .what { + font-family: FreeSans, serif; + text-align: left; + font-size: 1.0em; + color: #444; } + .resume-entry .resume-entry-data { + font-family: FreeSans, serif; + text-align: left; + font-size: 0.8em; + color: #767676; + margin-left: 0.9rem; } + .resume-entry .resume-inner { + line-height: 1; + margin-top: 0.2em; + margin-left: 0.9rem; } + .resume-entry p, .resume-entry ul, .resume-entry ol, .resume-entry li { + font-family: FreeSerif, serif; + color: #5f5a6f; + text-align: left; + font-size: 0.9em; } + +p.resume-subcategory { + font-family: FreeSans, sans-serif; + font-size: 1.4em; + text-decoration: underline; + padding: 0 0 .3em 0; } + +#contactinformation { + display: flex; + flex-direction: row; + flex-wrap: wrap; } + +.social { + display: flex; + justify-content: center; } + .social ul { + list-style-type: none; + display: flex; + justify-content: space-around; + flex-wrap: wrap; + width: 100%; + padding: 0; } + .social ul li { + display: inline-block; + padding: 0.5em; } + .social ul li a { + white-space: nowrap; + color: #3f444d; + font-size: 1em; + font-family: FreeSans, sans-serif; } + .social ul li a i { + font-size: 2em; + vertical-align: middle; } + +.contactbox { + padding: 0 1.0em 0 1.0em; + box-sizing: border-box; } + @media (max-width: 28em) { + .contactbox { + width: 100% !important; } } + .contactbox ul { + list-style-type: none; + background-color: #eee; + border-radius: 0.5em; + box-shadow: 0.025em 0.1em 0.2em 0.1em #333; + box-shadow: 0.025em 0.1em 0.2em 0.1em rgba(0, 0, 0, 0.3); + padding: 10%; + margin: auto; } + .contactbox i { + padding-right: 0.3em; } + .contactbox a { + font-family: FreeSans, sans-serif; + font-weight: bold; + font-size: 1em; + color: #524e59; + white-space: nowrap; } + .contactbox img { + height: .7em; + padding-right: .5em; + filter: opacity(80%); } + +.p5js { + width: 100%; + border: none; + display: block; + padding: 0; + margin: 0; + overflow-y: none; } + +.video-shortcode { + width: 100%; + height: auto; + padding: 1em 0; } + +#ethos { + text-align: justify; } + +blockquote { + font-family: FreeSerif, serif; + font-size: .9em; + color: #444; } + +cite { + font-family: FreeSerif, serif; + font-style: italic; } + +#gallery h3 { + font-size: 1.7em; } + +.gallery-category { + display: flex; + flex-flow: row wrap; + justify-content: space-between; + list-style-type: none; + padding: 0; + margin: 0; } + +.gallery-photo { + flex-grow: 1; + height: 10.5em; + padding: .2em; } + .gallery-photo img { + min-width: 100%; + max-height: 100%; + object-fit: cover; + vertical-align: bottom; + border-radius: .2em; } + .gallery-photo img:hover { + opacity: 0.7; + transition: 0.3s; + cursor: pointer; } + +.gallery-photo:last-child { + flex-grow: 10; } + +/* The Modal (background) */ +.modal { + display: none; + /* Hidden by default */ + position: fixed; + /* Stay in place */ + z-index: 1; + /* Sit on top */ + padding-top: 5vh; + /* Location of the box */ + left: 0; + top: 0; + width: 100%; + /* Full width */ + height: 100%; + /* Full height */ + overflow: auto; + /* Enable scroll if needed */ + background-color: black; + /* Fallback color */ + background-color: rgba(0, 0, 0, 0.9); + /* Black w/ opacity */ } + +/* Modal Content (image) */ +.modal-content { + margin: 4vh auto; + padding: 4vh 3%; + display: block; + width: auto; + height: auto; + max-height: 69vh; + max-width: 94%; + pointer-events: none; + user-select: none; } + +#loader { + display: none; + position: absolute; + left: 50%; + top: 50%; + z-index: 1; + width: 150px; + height: 150px; + margin: -75px 0 0 -75px; + border: 16px solid #f3f3f3; + border-radius: 50%; + border-top: 16px solid #3498db; + width: 120px; + height: 120px; + -webkit-animation: fadein 1s, spin 2s linear infinite; + animation: fadein 1s, spin 2s linear infinite; } + +@keyframes fadein { + from { + opacity: 0; } + to { + opacity: 1; } } + +/* Firefox < 16 */ +@-moz-keyframes fadein { + from { + opacity: 0; } + to { + opacity: 1; } } + +@-webkit-keyframes spin { + 0% { + -webkit-transform: rotate(0deg); } + 100% { + -webkit-transform: rotate(360deg); } } + +@keyframes spin { + 0% { + transform: rotate(0deg); } + 100% { + transform: rotate(360deg); } } + +/* Caption of Modal Image */ +#caption { + margin: auto; + display: block; + width: 80%; + max-width: 30em; + text-align: center; + color: #ccc; + padding: 1vh 0; + height: 8vh; } + +/* Add Animation */ +.modal-content, #caption { + animation-name: zoom; + animation-duration: 0.4s; } + +@keyframes zoom { + from { + transform: scale(0.4); } + to { + transform: scale(1); } } + +/* The Close Button */ +.close { + position: absolute; + top: 2vh; + right: 3vh; + color: #f1f1f1; + font-size: 6vh; + font-weight: bold; + transition: 0.3s; } + +.close:hover, .close:focus { + color: #bbb; + text-decoration: none; + cursor: pointer; } diff --git a/config [conflicted].toml b/config [conflicted].toml new file mode 100644 index 0000000..901b90b --- /dev/null +++ b/config [conflicted].toml @@ -0,0 +1,35 @@ +baseURL = "http://example.org/" +languageCode = "fr-fr" +title = "Rechampir, l'édition." +theme = "notrack" +newContentEditor = "nvim" +# mainSections = ["Récits"]["Recueils"] +# disqusShortname = "example" +paginate = 4 + +[params] + author = "Yves Picard" + siteHeading = "Rechampir, l'édition." # defaults to author + showBlogLatest = true + # mainSections = ["Récits"]["Recueils"] + showTaxonomyLinks = false + nBlogLatest = 4 # number of blog post om the home page + blogLatestHeading = "Derniers écrits mis en ligne" + + [params.social] + github = "example" + linkedin = "example" + email = "rechampir@rechampir.net" + mastodon = "https://hostux.social/web/accounts/984" + medium = "example" + keybase = "example" + twitter = "https://twitter.com/yv_pic" + +[taxonomies] + year = "year" + month = "month" + tags = "tags" + categories = "categories" + +[permalinks] + blog = "/blog/:year/:month/:slug" diff --git a/config.toml b/config.toml new file mode 100644 index 0000000..ef297d8 --- /dev/null +++ b/config.toml @@ -0,0 +1,33 @@ +baseURL = "http://example.org/" +languageCode = "fr-fr" +title = "Rechampir, l'édition." +theme = "notrack" +newContentEditor = "nvim" +# mainSections = ["Récits"]["Recueils"] +# disqusShortname = "example" +paginate = 4 + +[params] + author = "Yves Picard" + siteHeading = "Rechampir, l'édition." # defaults to author + showBlogLatest = true + # mainSections = ["Récits"]["Recueils"] + showTaxonomyLinks = false + nBlogLatest = 4 # number of blog post om the home page + blogLatestHeading = "Derniers écrits mis en ligne" + + [params.social] + + email = "rechampir@rechampir.net" + mastodon = "@yv_pic" + twitter = "yv_pic" + xmpp = "@yvespicard@farmserv.org" + +[taxonomies] + year = "year" + month = "month" + tags = "tags" + categories = "categories" + +[permalinks] + blog = "/blog/:year/:month/:slug" diff --git a/content/Recueils/La Petite Passe tranquille/_index.md b/content/Recueils/La Petite Passe tranquille/_index.md new file mode 100644 index 0000000..fa0d144 --- /dev/null +++ b/content/Recueils/La Petite Passe tranquille/_index.md @@ -0,0 +1,9 @@ +--- +title: "La Petite Passe tranquille" +draft: "true" +menu: + main: + title: "La Petite Passe tranquille" + parent: "Les recueils" +--- + diff --git a/content/Recueils/La Petite Passe tranquille/chapter-6.md b/content/Recueils/La Petite Passe tranquille/chapter-6.md new file mode 100644 index 0000000..4750783 --- /dev/null +++ b/content/Recueils/La Petite Passe tranquille/chapter-6.md @@ -0,0 +1,99 @@ +--- +date: 2017-04-14T11:25:05-04:00 +description: "Esmeralda" +featured_image: "/images/esmeralda.jpg" +tags: [] +title: "Chapter VI: Esmeralda" +disable_share: false +--- +We are delighted to be able to inform the reader, that during the whole of +this scene, Gringoire and his piece had stood firm. His actors, spurred on +by him, had not ceased to spout his comedy, and he had not ceased to +listen to it. He had made up his mind about the tumult, and was determined +to proceed to the end, not giving up the hope of a return of attention on +the part of the public. This gleam of hope acquired fresh life, when he +saw Quasimodo, Coppenole, and the deafening escort of the pope of the +procession of fools quit the hall amid great uproar. The throng rushed +eagerly after them. “Good,” he said to himself, “there go all the +mischief-makers.” Unfortunately, all the mischief-makers constituted the +entire audience. In the twinkling of an eye, the grand hall was empty. + +To tell the truth, a few spectators still remained, some scattered, others +in groups around the pillars, women, old men, or children, who had had +enough of the uproar and tumult. Some scholars were still perched astride +of the window-sills, engaged in gazing into the Place. + +“Well,” thought Gringoire, “here are still as many as are required to hear +the end of my mystery. They are few in number, but it is a choice +audience, a lettered audience.” + +An instant later, a symphony which had been intended to produce the +greatest effect on the arrival of the Virgin, was lacking. Gringoire +perceived that his music had been carried off by the procession of the +Pope of the Fools. “Skip it,” said he, stoically. + +He approached a group of bourgeois, who seemed to him to be discussing his +piece. This is the fragment of conversation which he caught,— + +“You know, Master Cheneteau, the Hôtel de Navarre, which belonged to +Monsieur de Nemours?” + +“Yes, opposite the Chapelle de Braque.” + +“Well, the treasury has just let it to Guillaume Alixandre, historian, for +six hivres, eight sols, parisian, a year.” + +“How rents are going up!” + +“Come,” said Gringoire to himself, with a sigh, “the others are +listening.” + +“Comrades,” suddenly shouted one of the young scamps from the window, “La +Esmeralda! La Esmeralda in the Place!” + +This word produced a magical effect. Every one who was left in the hall +flew to the windows, climbing the walls in order to see, and repeating, +“La Esmeralda! La Esmeralda?” At the same time, a great sound of applause +was heard from without. + +“What’s the meaning of this, of the Esmeralda?” said Gringoire, wringing +his hands in despair. “Ah, good heavens! it seems to be the turn of the +windows now.” + +He returned towards the marble table, and saw that the representation had +been interrupted. It was precisely at the instant when Jupiter should have +appeared with his thunder. But Jupiter was standing motionless at the foot +of the stage. + +“Michel Giborne!” cried the irritated poet, “what are you doing there? Is +that your part? Come up!” + +“Alas!” said Jupiter, “a scholar has just seized the ladder.” + +Gringoire looked. It was but too true. All communication between his plot +and its solution was intercepted. + +“The rascal,” he murmured. “And why did he take that ladder?” + +“In order to go and see the Esmeralda,” replied Jupiter piteously. “He +said, ‘Come, here’s a ladder that’s of no use!’ and he took it.” + +This was the last blow. Gringoire received it with resignation. + +“May the devil fly away with you!” he said to the comedian, “and if I get +my pay, you shall receive yours.” + +Then he beat a retreat, with drooping head, but the last in the field, +like a general who has fought well. + +And as he descended the winding stairs of the courts: “A fine rabble of +asses and dolts these Parisians!” he muttered between his teeth; “they +come to hear a mystery and don’t listen to it at all! They are engrossed +by every one, by Chopin Trouillefou, by the cardinal, by Coppenole, by +Quasimodo, by the devil! but by Madame the Virgin Mary, not at all. If I +had known, I’d have given you Virgin Mary; you ninnies! And I! to come to +see faces and behold only backs! to be a poet, and to reap the success of +an apothecary! It is true that Homerus begged through the Greek towns, and +that Naso died in exile among the Muscovites. But may the devil flay me if +I understand what they mean with their Esmeralda! What is that word, in +the first place?—‘tis Egyptian!” diff --git a/content/Recueils/Là eussent dû être des amis/_index.md b/content/Recueils/Là eussent dû être des amis/_index.md new file mode 100644 index 0000000..279fcf7 --- /dev/null +++ b/content/Recueils/Là eussent dû être des amis/_index.md @@ -0,0 +1,9 @@ +--- +title: "Là eussent dû être des amis" +date: 2020-12-22 +draft: "true" +menu: + main: + parent: "Les recueils" +--- +les TP sont good ó diff --git a/content/Recueils/Nouvelles/_index.md b/content/Recueils/Nouvelles/_index.md new file mode 100644 index 0000000..ba418b9 --- /dev/null +++ b/content/Recueils/Nouvelles/_index.md @@ -0,0 +1,9 @@ +--- +title: "Nouvelles" +date: 2020-12-22 +draft: "true" +menu: + main: + parent: "Les recueils" +--- +les TP sont good ó diff --git a/content/Recueils/Poésies & Chansons/_index.md b/content/Recueils/Poésies & Chansons/_index.md new file mode 100644 index 0000000..9fc0c7c --- /dev/null +++ b/content/Recueils/Poésies & Chansons/_index.md @@ -0,0 +1,9 @@ +--- +title: "Poésies & Chansons" +date: 2020-12-22 +draft: "true" +menu: + main: + parent: "Les recueils" +--- +les TP sont good ó diff --git a/content/Recueils/_index.md b/content/Recueils/_index.md new file mode 100644 index 0000000..d2cf62b --- /dev/null +++ b/content/Recueils/_index.md @@ -0,0 +1,11 @@ +--- +title: "Les recueils" +kind: "section" +draft: "true" +menu: + main: + identifier: "Les recueils" + weight: 15 +--- + +Ici les recueils. diff --git a/content/Récits/La Justice apparente/_index.md b/content/Récits/La Justice apparente/_index.md new file mode 100644 index 0000000..c0c01cc --- /dev/null +++ b/content/Récits/La Justice apparente/_index.md @@ -0,0 +1,9 @@ +--- +title: "La Justice apparente" +date: 2020-12-22 +draft: "true" +menu: + main: + parent: "Les récits" +--- +les TP sont good ó diff --git a/content/Récits/Les Petits-enfants de madame Peron/_index.md b/content/Récits/Les Petits-enfants de madame Peron/_index.md new file mode 100644 index 0000000..9c28bee --- /dev/null +++ b/content/Récits/Les Petits-enfants de madame Peron/_index.md @@ -0,0 +1,9 @@ +--- +title: "Les Petits-enfants de madame Perón racontés à elle-même" +date: 2020-12-22 +draft: "true" +menu: + main: + parent: "Les récits" +--- +les TP sont good ó diff --git a/content/Récits/Les Terre-pleins/Prologue.md b/content/Récits/Les Terre-pleins/Prologue.md new file mode 100644 index 0000000..534f6e7 --- /dev/null +++ b/content/Récits/Les Terre-pleins/Prologue.md @@ -0,0 +1,19 @@ +--- +title: "Prologue" +date: 2019-03-26T08:47:11+01:00 +draft: true +--- + +Jeune lecteur ! + +Tous les jours n'est-ce pas tu regardes les nuages ? Tu t'émerveilles de leurs aspects, de leur infini défilé ? Comme tu as raison ! Mais la vie contraint souvent à ne pas regarder ce que l'on aime et à poser les yeux sur ce qui fascine mais n'émerveille pas. De la fenêtre d'une voiture par exemple, sur les à-côtés, sur les terre-pleins, les embranchements et les rond-points que nous voyons chaque jour, leurs coquelicots rouge et là, soudain, un busard. Des bouleaux, des taïgas, des folles avoines et des genêts. Et leurs ombres aussi, que tu devines. Bref, sache que, s'il existe toute une science pour nommer les nuages selon leur forme, leur altitude et leur devenir, la science des terre-pleins n'existe pas encore, comme s'ils ne faisaient pas partie de la vie, effacés tout simplement. + +Alors j'ai écrit une histoire qui marche à pied, allons voir. + +Pour la suivre, le mieux est que toi-même tu te mettes en route : enfile tes mocassins, mets-toi torse nu et rejoins la file ! Exactement comme quand tu imagines et que tu joues. Suis les Indiens sur les sentiers, il y en a partout autour de la ville, ils sauront te guider. Vas vers les campements, les caravanes, les tentes et les taillis, écoute : au feu à la nuit tombée, il se dit des aventures tirées d'un nouveau *far west*. + +Pars cette semaine par exemple, tu as le temps. Jan Yoors, un gamin de ton âge a déjà fait cela. Fais comme lui, pars et reviens selon tes souhaits. Essaye, prends l'habitude, cherche ! Sois patient les premiers soirs, ne brusque surtout pas : que tes retours à la maison se fassent en silence pour ne pas réveiller ceux qui dorment. – Tes vieux ! + +Et s'il te plaît plus tard, fais ton profit de cette histoire. Lorsque tu voudras à ton tour embrasser la vie, plier le monde, circonscrire les causes et faire usage de ta puissance ou simplement construire ta propre route : alors repense à ces terres-pleins et aux compagnons qui y vivent. + +Je te laisse de poursuivre la fable. diff --git a/content/Récits/Les Terre-pleins/Prologue.md~ b/content/Récits/Les Terre-pleins/Prologue.md~ new file mode 100644 index 0000000..d756ab1 --- /dev/null +++ b/content/Récits/Les Terre-pleins/Prologue.md~ @@ -0,0 +1,18 @@ +--- +title:"Prologue" +--- + + +Jeune lecteur ! + +Tous les jours n'est-ce pas tu regardes les nuages ? Tu t'émerveilles de leurs aspects, de leur infini défilé ? Comme tu as raison ! Mais la vie contraint souvent à ne pas regarder ce que l'on aime et à poser les yeux sur ce qui fascine mais n'émerveille pas. De la fenêtre d'une voiture par exemple, sur les à-côtés, sur les terre-pleins, les embranchements et les rond-points que nous voyons chaque jour, leurs coquelicots rouge et là, soudain, un busard. Des bouleaux, des taïgas, des folles avoines et des genêts. Et leurs ombres aussi, que tu devines. Bref, sache que, s'il existe toute une science pour nommer les nuages selon leur forme, leur altitude et leur devenir, la science des terre-pleins n'existe pas encore, comme s'ils ne faisaient pas partie de la vie, effacés tout simplement. + +Alors j'ai écrit une histoire qui marche à pied, allons voir. + +Pour la suivre, le mieux est que toi-même tu te mettes en route : enfile tes mocassins, mets-toi torse nu et rejoins la file ! Exactement comme quand tu imagines et que tu joues. Suis les Indiens sur les sentiers, il y en a partout autour de la ville, ils sauront te guider. Vas vers les campements, les caravanes, les tentes et les taillis, écoute : au feu à la nuit tombée, il se dit des aventures tirées d'un nouveau *far west*. + +Pars cette semaine par exemple, tu as le temps. Jan Yoors, un gamin de ton âge a déjà fait cela. Fais comme lui, pars et reviens selon tes souhaits. Essaye, prends l'habitude, cherche ! Sois patient les premiers soirs, ne brusque surtout pas : que tes retours à la maison se fassent en silence pour ne pas réveiller ceux qui dorment. – Tes vieux ! + +Et s'il te plaît plus tard, fais ton profit de cette histoire. Lorsque tu voudras à ton tour embrasser la vie, plier le monde, circonscrire les causes et faire usage de ta puissance ou simplement construire ta propre route : alors repense à ces terres-pleins et aux compagnons qui y vivent. + +Je te laisse de poursuivre la fable. diff --git a/content/Récits/Les Terre-pleins/_index.md b/content/Récits/Les Terre-pleins/_index.md new file mode 100644 index 0000000..377fa33 --- /dev/null +++ b/content/Récits/Les Terre-pleins/_index.md @@ -0,0 +1,9 @@ +--- +title: "Les Terre-pleins" +date: 2020-12-22 +draft: "true" +menu: + main: + parent: "Les récits" +--- +les TP sont good diff --git a/content/Récits/Les Terre-pleins/chapter-1.md b/content/Récits/Les Terre-pleins/chapter-1.md new file mode 100644 index 0000000..ff2a14f --- /dev/null +++ b/content/Récits/Les Terre-pleins/chapter-1.md @@ -0,0 +1,81 @@ +--- +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. diff --git a/content/Récits/Les Terre-pleins/chapter-2.md b/content/Récits/Les Terre-pleins/chapter-2.md new file mode 100644 index 0000000..b3c7d4f --- /dev/null +++ b/content/Récits/Les Terre-pleins/chapter-2.md @@ -0,0 +1,90 @@ +--- +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.” diff --git a/content/Récits/Les Terre-pleins/chapter-3.md b/content/Récits/Les Terre-pleins/chapter-3.md new file mode 100644 index 0000000..cd29cee --- /dev/null +++ b/content/Récits/Les Terre-pleins/chapter-3.md @@ -0,0 +1,100 @@ +--- +date: 2017-04-11T11:13:32-04:00 +description: "Monsieur the Cardinal" +featured_image: "" +tags: [] +title: "Chapter III: Monsieur the Cardinal" +--- + +Poor Gringoire! the din of all the great double petards of the Saint-Jean, +the discharge of twenty arquebuses on supports, the detonation of that +famous serpentine of the Tower of Billy, which, during the siege of Paris, +on Sunday, the twenty-sixth of September, 1465, killed seven Burgundians +at one blow, the explosion of all the powder stored at the gate of the +Temple, would have rent his ears less rudely at that solemn and dramatic +moment, than these few words, which fell from the lips of the usher, “His +eminence, Monseigneur the Cardinal de Bourbon.” + +It is not that Pierre Gringoire either feared or disdained monsieur the +cardinal. He had neither the weakness nor the audacity for that. A true +eclectic, as it would be expressed nowadays, Gringoire was one of those +firm and lofty, moderate and calm spirits, which always know how to bear +themselves amid all circumstances (_stare in dimidio rerum_), and who +are full of reason and of liberal philosophy, while still setting store by +cardinals. A rare, precious, and never interrupted race of philosophers to +whom wisdom, like another Ariadne, seems to have given a clew of thread +which they have been walking along unwinding since the beginning of the +world, through the labyrinth of human affairs. One finds them in all ages, +ever the same; that is to say, always according to all times. And, without +reckoning our Pierre Gringoire, who may represent them in the fifteenth +century if we succeed in bestowing upon him the distinction which he +deserves, it certainly was their spirit which animated Father du Breul, +when he wrote, in the sixteenth, these naively sublime words, worthy of +all centuries: “I am a Parisian by nation, and a Parrhisian in language, +for _parrhisia_ in Greek signifies liberty of speech; of which I have +made use even towards messeigneurs the cardinals, uncle and brother to +Monsieur the Prince de Conty, always with respect to their greatness, and +without offending any one of their suite, which is much to say.” + +There was then neither hatred for the cardinal, nor disdain for his +presence, in the disagreeable impression produced upon Pierre Gringoire. +Quite the contrary; our poet had too much good sense and too threadbare a +coat, not to attach particular importance to having the numerous allusions +in his prologue, and, in particular, the glorification of the dauphin, son +of the Lion of France, fall upon the most eminent ear. But it is not +interest which predominates in the noble nature of poets. I suppose that +the entity of the poet may be represented by the number ten; it is certain +that a chemist on analyzing and pharmacopolizing it, as Rabelais says, +would find it composed of one part interest to nine parts of self-esteem. + +Now, at the moment when the door had opened to admit the cardinal, the +nine parts of self-esteem in Gringoire, swollen and expanded by the breath +of popular admiration, were in a state of prodigious augmentation, beneath +which disappeared, as though stifled, that imperceptible molecule of which +we have just remarked upon in the constitution of poets; a precious +ingredient, by the way, a ballast of reality and humanity, without which +they would not touch the earth. Gringoire enjoyed seeing, feeling, +fingering, so to speak an entire assembly (of knaves, it is true, but what +matters that?) stupefied, petrified, and as though asphyxiated in the +presence of the incommensurable tirades which welled up every instant from +all parts of his bridal song. I affirm that he shared the general +beatitude, and that, quite the reverse of La Fontaine, who, at the +presentation of his comedy of the “Florentine,” asked, “Who is the +ill-bred lout who made that rhapsody?” Gringoire would gladly have +inquired of his neighbor, “Whose masterpiece is this?” + +The reader can now judge of the effect produced upon him by the abrupt and +unseasonable arrival of the cardinal. + +That which he had to fear was only too fully realized. The entrance of his +eminence upset the audience. All heads turned towards the gallery. It was +no longer possible to hear one’s self. “The cardinal! The cardinal!” +repeated all mouths. The unhappy prologue stopped short for the second +time. + +The cardinal halted for a moment on the threshold of the estrade. While he +was sending a rather indifferent glance around the audience, the tumult +redoubled. Each person wished to get a better view of him. Each man vied +with the other in thrusting his head over his neighbor’s shoulder. + +He was, in fact, an exalted personage, the sight of whom was well worth +any other comedy. Charles, Cardinal de Bourbon, Archbishop and Comte of +Lyon, Primate of the Gauls, was allied both to Louis XI., through his +brother, Pierre, Seigneur de Beaujeu, who had married the king’s eldest +daughter, and to Charles the Bold through his mother, Agnes of Burgundy. +Now, the dominating trait, the peculiar and distinctive trait of the +character of the Primate of the Gauls, was the spirit of the courtier, and +devotion to the powers that be. The reader can form an idea of the +numberless embarrassments which this double relationship had caused him, +and of all the temporal reefs among which his spiritual bark had been +forced to tack, in order not to suffer shipwreck on either Louis or +Charles, that Scylla and that Charybdis which had devoured the Duc de +Nemours and the Constable de Saint-Pol. Thanks to Heaven’s mercy, he had +made the voyage successfully, and had reached home without hindrance. But +although he was in port, and precisely because he was in port, he never +recalled without disquiet the varied haps of his political career, so long +uneasy and laborious. Thus, he was in the habit of saying that the year +1476 had been “white and black” for him—meaning thereby, that in the +course of that year he had lost his mother, the Duchesse de la +Bourbonnais, and his cousin, the Duke of Burgundy, and that one grief had +consoled him for the other. diff --git a/content/Récits/Les Terre-pleins/chapter-4.md b/content/Récits/Les Terre-pleins/chapter-4.md new file mode 100644 index 0000000..f49d937 --- /dev/null +++ b/content/Récits/Les Terre-pleins/chapter-4.md @@ -0,0 +1,86 @@ +--- +date: 2017-04-12T11:14:48-04:00 +description: "Master Jacques Coppenole" +featured_image: "" +tags: ["scene"] +title: "Chapter IV: Master Jacques Coppenole" +--- +While the pensioner of Ghent and his eminence were exchanging very low +bows and a few words in voices still lower, a man of lofty stature, with a +large face and broad shoulders, presented himself, in order to enter +abreast with Guillaume Rym; one would have pronounced him a bull-dog by +the side of a fox. His felt doublet and leather jerkin made a spot on the +velvet and silk which surrounded him. Presuming that he was some groom who +had stolen in, the usher stopped him. + +“Hold, my friend, you cannot pass!” + +The man in the leather jerkin shouldered him aside. + +“What does this knave want with me?” said he, in stentorian tones, which +rendered the entire hall attentive to this strange colloquy. “Don’t you +see that I am one of them?” + +“Your name?” demanded the usher. + +“Jacques Coppenole.” + +“Your titles?” + +“Hosier at the sign of the ‘Three Little Chains,’ of Ghent.” + +The usher recoiled. One might bring one’s self to announce aldermen and +burgomasters, but a hosier was too much. The cardinal was on thorns. All +the people were staring and listening. For two days his eminence had been +exerting his utmost efforts to lick these Flemish bears into shape, and to +render them a little more presentable to the public, and this freak was +startling. But Guillaume Rym, with his polished smile, approached the +usher. + +“Announce Master Jacques Coppenole, clerk of the aldermen of the city of +Ghent,” he whispered, very low. + +“Usher,” interposed the cardinal, aloud, “announce Master Jacques +Coppenole, clerk of the aldermen of the illustrious city of Ghent.” + +This was a mistake. Guillaume Rym alone might have conjured away the +difficulty, but Coppenole had heard the cardinal. + +“No, cross of God?” he exclaimed, in his voice of thunder, “Jacques +Coppenole, hosier. Do you hear, usher? Nothing more, nothing less. Cross +of God! hosier; that’s fine enough. Monsieur the Archduke has more than +once sought his _gant_\* in my hose.” + +_* Got the first idea of a timing._ + +Laughter and applause burst forth. A jest is always understood in Paris, +and, consequently, always applauded. + +Let us add that Coppenole was of the people, and that the auditors which +surrounded him were also of the people. Thus the communication between him +and them had been prompt, electric, and, so to speak, on a level. The +haughty air of the Flemish hosier, by humiliating the courtiers, had +touched in all these plebeian souls that latent sentiment of dignity still +vague and indistinct in the fifteenth century. + +This hosier was an equal, who had just held his own before monsieur the +cardinal. A very sweet reflection to poor fellows habituated to respect +and obedience towards the underlings of the sergeants of the bailiff of +Sainte-Geneviève, the cardinal’s train-bearer. + +Coppenole proudly saluted his eminence, who returned the salute of the +all-powerful bourgeois feared by Louis XI. Then, while Guillaume Rym, a +“sage and malicious man,” as Philippe de Comines puts it, watched them +both with a smile of raillery and superiority, each sought his place, the +cardinal quite abashed and troubled, Coppenole tranquil and haughty, and +thinking, no doubt, that his title of hosier was as good as any other, +after all, and that Marie of Burgundy, mother to that Marguerite whom +Coppenole was to-day bestowing in marriage, would have been less afraid of +the cardinal than of the hosier; for it is not a cardinal who would have +stirred up a revolt among the men of Ghent against the favorites of the +daughter of Charles the Bold; it is not a cardinal who could have +fortified the populace with a word against her tears and prayers, when the +Maid of Flanders came to supplicate her people in their behalf, even at +the very foot of the scaffold; while the hosier had only to raise his +leather elbow, in order to cause to fall your two heads, most illustrious +seigneurs, Guy d’Hymbercourt and Chancellor Guillaume Hugonet. diff --git a/content/Récits/Les Terre-pleins/chapter-5.md b/content/Récits/Les Terre-pleins/chapter-5.md new file mode 100644 index 0000000..e0f5d28 --- /dev/null +++ b/content/Récits/Les Terre-pleins/chapter-5.md @@ -0,0 +1,17 @@ +--- +date: 2017-04-13T11:15:58-04:00 +description: "Quasimodo" +featured_image: "" +tags: [] +title: "Chapter V: Quasimodo" +--- + +In the twinkling of an eye, all was ready to execute Coppenole’s idea. Bourgeois, scholars and law clerks all set to work. The little chapel situated opposite the marble table was selected for the scene of the grinning match. A pane broken in the pretty rose window above the door, left free a circle of stone through which it was agreed that the competitors should thrust their heads. In order to reach it, it was only necessary to mount upon a couple of hogsheads, which had been produced from I know not where, and perched one upon the other, after a fashion. It was settled that each candidate, man or woman (for it was possible to choose a female pope), should, for the sake of leaving the impression of his grimace fresh and complete, cover his face and remain concealed in the chapel until the moment of his appearance. In less than an instant, the chapel was crowded with competitors, upon whom the door was then closed. + +Coppenole, from his post, ordered all, directed all, arranged all. During the uproar, the cardinal, no less abashed than Gringoire, had retired with all his suite, under the pretext of business and vespers, without the crowd which his arrival had so deeply stirred being in the least moved by his departure. Guillaume Rym was the only one who noticed his eminence’s discomfiture. The attention of the populace, like the sun, pursued its revolution; having set out from one end of the hall, and halted for a space in the middle, it had now reached the other end. The marble table, the brocaded gallery had each had their day; it was now the turn of the chapel of Louis XI. Henceforth, the field was open to all folly. There was no one there now, but the Flemings and the rabble. + +The grimaces began. The first face which appeared at the aperture, with eyelids turned up to the reds, a mouth open like a maw, and a brow wrinkled like our hussar boots of the Empire, evoked such an inextinguishable peal of laughter that Homer would have taken all these louts for gods. Nevertheless, the grand hall was anything but Olympus, and Gringoire’s poor Jupiter knew it better than any one else. A second and third grimace followed, then another and another; and the laughter and transports of delight went on increasing. There was in this spectacle, a peculiar power of intoxication and fascination, of which it would be difficult to convey to the reader of our day and our salons any idea. + +Let the reader picture to himself a series of visages presenting successively all geometrical forms, from the triangle to the trapezium, from the cone to the polyhedron; all human expressions, from wrath to lewdness; all ages, from the wrinkles of the new-born babe to the wrinkles of the aged and dying; all religious phantasmagories, from Faun to Beelzebub; all animal profiles, from the maw to the beak, from the jowl to the muzzle. Let the reader imagine all these grotesque figures of the Pont Neuf, those nightmares petrified beneath the hand of Germain Pilon, assuming life and breath, and coming in turn to stare you in the face with burning eyes; all the masks of the Carnival of Venice passing in succession before your glass,—in a word, a human kaleidoscope. + +The orgy grew more and more Flemish. Teniers could have given but a very imperfect idea of it. Let the reader picture to himself in bacchanal form, Salvator Rosa’s battle. There were no longer either scholars or ambassadors or bourgeois or men or women; there was no longer any Clopin Trouillefou, nor Gilles Lecornu, nor Marie Quatrelivres, nor Robin Poussepain. All was universal license. The grand hall was no longer anything but a vast furnace of effrontry and joviality, where every mouth was a cry, every individual a posture; everything shouted and howled. The strange visages which came, in turn, to gnash their teeth in the rose window, were like so many brands cast into the brazier; and from the whole of this effervescing crowd, there escaped, as from a furnace, a sharp, piercing, stinging noise, hissing like the wings of a gnat. diff --git a/content/Récits/Les Terre-pleins/chapter-6.md b/content/Récits/Les Terre-pleins/chapter-6.md new file mode 100644 index 0000000..47ad7ce --- /dev/null +++ b/content/Récits/Les Terre-pleins/chapter-6.md @@ -0,0 +1,100 @@ +--- +date: 2017-04-14T11:25:05-04:00 +description: "Esmeralda" +featured_image: "/images/esmeralda.jpg" +tags: [TP] +category: [terP] +title: "Chapter VI: Esmeralda" +disable_share: false +--- +We are delighted to be able to inform the reader, that during the whole of +this scene, Gringoire and his piece had stood firm. His actors, spurred on +by him, had not ceased to spout his comedy, and he had not ceased to +listen to it. He had made up his mind about the tumult, and was determined +to proceed to the end, not giving up the hope of a return of attention on +the part of the public. This gleam of hope acquired fresh life, when he +saw Quasimodo, Coppenole, and the deafening escort of the pope of the +procession of fools quit the hall amid great uproar. The throng rushed +eagerly after them. “Good,” he said to himself, “there go all the +mischief-makers.” Unfortunately, all the mischief-makers constituted the +entire audience. In the twinkling of an eye, the grand hall was empty. + +To tell the truth, a few spectators still remained, some scattered, others +in groups around the pillars, women, old men, or children, who had had +enough of the uproar and tumult. Some scholars were still perched astride +of the window-sills, engaged in gazing into the Place. + +“Well,” thought Gringoire, “here are still as many as are required to hear +the end of my mystery. They are few in number, but it is a choice +audience, a lettered audience.” + +An instant later, a symphony which had been intended to produce the +greatest effect on the arrival of the Virgin, was lacking. Gringoire +perceived that his music had been carried off by the procession of the +Pope of the Fools. “Skip it,” said he, stoically. + +He approached a group of bourgeois, who seemed to him to be discussing his +piece. This is the fragment of conversation which he caught,— + +“You know, Master Cheneteau, the Hôtel de Navarre, which belonged to +Monsieur de Nemours?” + +“Yes, opposite the Chapelle de Braque.” + +“Well, the treasury has just let it to Guillaume Alixandre, historian, for +six hivres, eight sols, parisian, a year.” + +“How rents are going up!” + +“Come,” said Gringoire to himself, with a sigh, “the others are +listening.” + +“Comrades,” suddenly shouted one of the young scamps from the window, “La +Esmeralda! La Esmeralda in the Place!” + +This word produced a magical effect. Every one who was left in the hall +flew to the windows, climbing the walls in order to see, and repeating, +“La Esmeralda! La Esmeralda?” At the same time, a great sound of applause +was heard from without. + +“What’s the meaning of this, of the Esmeralda?” said Gringoire, wringing +his hands in despair. “Ah, good heavens! it seems to be the turn of the +windows now.” + +He returned towards the marble table, and saw that the representation had +been interrupted. It was precisely at the instant when Jupiter should have +appeared with his thunder. But Jupiter was standing motionless at the foot +of the stage. + +“Michel Giborne!” cried the irritated poet, “what are you doing there? Is +that your part? Come up!” + +“Alas!” said Jupiter, “a scholar has just seized the ladder.” + +Gringoire looked. It was but too true. All communication between his plot +and its solution was intercepted. + +“The rascal,” he murmured. “And why did he take that ladder?” + +“In order to go and see the Esmeralda,” replied Jupiter piteously. “He +said, ‘Come, here’s a ladder that’s of no use!’ and he took it.” + +This was the last blow. Gringoire received it with resignation. + +“May the devil fly away with you!” he said to the comedian, “and if I get +my pay, you shall receive yours.” + +Then he beat a retreat, with drooping head, but the last in the field, +like a general who has fought well. + +And as he descended the winding stairs of the courts: “A fine rabble of +asses and dolts these Parisians!” he muttered between his teeth; “they +come to hear a mystery and don’t listen to it at all! They are engrossed +by every one, by Chopin Trouillefou, by the cardinal, by Coppenole, by +Quasimodo, by the devil! but by Madame the Virgin Mary, not at all. If I +had known, I’d have given you Virgin Mary; you ninnies! And I! to come to +see faces and behold only backs! to be a poet, and to reap the success of +an apothecary! It is true that Homerus begged through the Greek towns, and +that Naso died in exile among the Muscovites. But may the devil flay me if +I understand what they mean with their Esmeralda! What is that word, in +the first place?—‘tis Egyptian!” diff --git a/content/Récits/_index.md b/content/Récits/_index.md new file mode 100644 index 0000000..19fd4d7 --- /dev/null +++ b/content/Récits/_index.md @@ -0,0 +1,10 @@ +--- +title: "Les récits" +draft: "true" +menu: + main: + identifier: "Les récits" + weight: 10 +--- + +Ici les récits. diff --git a/content/Résumés/Résumés.md b/content/Résumés/Résumés.md new file mode 100644 index 0000000..f326cc3 --- /dev/null +++ b/content/Résumés/Résumés.md @@ -0,0 +1,16 @@ +--- +title: "Résumés" +date: 2020-12-23 +draft: "true" +menu: "main" +weight: 20 +--- +# Résumés des récits +{{< resume-entry what="Les Terre-pleins" +where="Autour de Rennes, des Horizons à Tihouït" +when="2010–2013" >}} +Tina, la fille de monsieur Marc, décide de franchir la barrière symbolique de la rocade. +Maghlout, lui, tourne déjà autour de Rennes. +{{< /resume-entry >}} + +# Présentation des recueils diff --git a/content/_index.md b/content/_index.md new file mode 100644 index 0000000..c3a1ebe --- /dev/null +++ b/content/_index.md @@ -0,0 +1,47 @@ +--- +title: "Accueil" +date: 2020-12-23 +draft: "true" +menu: "main" +weight: 5 +--- +# Se redonner du champ + +*Rechampir, l'édition* est un espace de publication électronique créé et animé par Yves Picard. + +Son ambition et sa forme sont modestes et entendent le rester. + +>« Au village, tout le monde sait toutes les histoires +>mais il y en a que deux ou trois qui les disent. » +>(*La Justice apparente*, éditions Apogée, 2007.) + + +### Au générique + +Le site est créé grâce à Hugo, [https://gohugo.io/](https://gohugo.io/), à partir du thème Notrack [https://github.com/gevhaz/hugo-theme-notrack](https://github.com/gevhaz/hugo-theme-notrack) + +La typo du titre et des menus est de l'Infini, heureuse initiative [http://www.cnap.graphismeenfrance.fr/infini/](http://www.cnap.graphismeenfrance.fr/infini/). La titraille est en Ubuntu et le texte en FreeSerif. + +Merci à Mistral Oz pour son aide bienveillante :) [https://www.lewebenplus.net/](https://github.com/gevhaz/hugo-theme-notrack) + +## Contact + +Le blog Rechampir est ici : [https://rechampir.net/](https://rechampir.net/) + +{{< social >}} + +Ce qu'il reste à faire pour la v. 0.9 +* arborescence complète : ok mais les pages "sections" n'affichent rien & comment prendre en compte les sous-dossiers ? +* résumés à compléter + +Pour la v. 1 : +* imports des textes + +Fonctionnalités à intégrer (layouts) +* intégrer ensuite chapitre avant/chapitre après +* possibilité d'un fil d'Ariane ? +* numérotation des paragraphes ? + +Ce qui ne marche pas encore : +* customiser le lien social "mastodon.social" +* le lien social XMPP diff --git a/data/social.yaml b/data/social.yaml new file mode 100644 index 0000000..0ade420 --- /dev/null +++ b/data/social.yaml @@ -0,0 +1,511 @@ +# 001: Github +github: + weight: 1 + prefix: https://github.com/ + title: GitHub + icon: + class: fab fa-github-alt fa-fw + +# 002: LinkedIn +linkedin: + weight: 2 + prefix: https://linkedin.com/in/ + title: LinkedIn + icon: + class: fab fa-linkedin fa-fw + +# 003: Twitter +twitter: + weight: 3 + prefix: https://twitter.com/ + title: Twitter + icon: + class: fab fa-twitter fa-fw + +# 004: Instagram +instagram: + weight: 4 + prefix: https://www.instagram.com/ + title: Instagram + icon: + class: fab fa-instagram fa-fw + +# 005: facebook +facebook: + weight: 5 + prefix: https://facebook.com/ + title: Facebook + icon: + class: fab fa-facebook fa-fw + +# 006: Telegram +telegram: + weight: 6 + prefix: https://t.me/ + title: Telegram + icon: + class: fab fa-telegram-plane fa-fw + +# 007: Medium +medium: + weight: 7 + prefix: https://medium.com/ + title: Medium + icon: + class: fab fa-medium fa-fw + +# 008: GitLab +gitlab: + weight: 8 + prefix: https://gitlab.com/ + title: GitLab + icon: + class: fab fa-gitlab fa-fw + +# 009: YouTube Legacy +youtubelegacy: + weight: 9 + prefix: https://www.youtube.com/user/ + title: YouTube + icon: + class: fab fa-youtube fa-fw + +# 010: YouTube Custom +youtubecustom: + weight: 10 + prefix: https://www.youtube.com/c/ + title: YouTube + icon: + class: fab fa-youtube fa-fw + +# 011: YouTube Channel +youtubechannel: + weight: 11 + prefix: https://www.youtube.com/channel/ + title: YouTube + icon: + class: fab fa-youtube fa-fw + +# 012: Tumblr +tumblr: + weight: 12 + template: https://%v.tumblr.com/ + title: Tumblr + icon: + class: fab fa-tumblr fa-fw + +# 013: Quora +quora: + weight: 13 + prefix: https://www.quora.com/profile/ + title: Quora + icon: + class: fab fa-quora fa-fw + +# 014: Keybase +keybase: + weight: 14 + prefix: https://keybase.io/ + title: Keybase + icon: + class: fab fa-keybase fa-fw + +# 015: Pinterest +pinterest: + weight: 15 + prefix: https://www.pinterest.com/ + title: Pinterest + icon: + class: fab fa-pinterest fa-fw + +# 016: Reddit +reddit: + weight: 16 + prefix: https://www.reddit.com/user/ + title: Reddit + icon: + class: fab fa-reddit fa-fw + +# 017: CodePen +codepen: + weight: 17 + prefix: https://codepen.io/ + title: CodePen + icon: + class: fab fa-codepen fa-fw + +# 018: freeCodeCamp +freecodecamp: + weight: 18 + prefix: https://freecodecamp.org/ + title: freeCodeCamp + icon: + class: fab fa-free-code-camp fa-fw + +# 019: Bitbucket +bitbucket: + weight: 19 + prefix: https://bitbucket.org/ + title: Bitbucket + icon: + class: fab fa-bitbucket fa-fw + +# 020: Stack Overflow +stackoverflow: + weight: 20 + prefix: https://stackoverflow.com/users/ + title: Stack Overflow + icon: + class: fab fa-codepen fa-fw + +# 021: 微博 +weibo: + weight: 21 + prefix: https://weibo.com/ + title: 微博 + icon: + class: fab fa-weibo fa-fw + +# 022: OK.RU +odnoklassniki: + weight: 22 + prefix: https://ok.ru/ + title: OK.RU + icon: + class: fab fa-odnoklassniki fa-fw + +# 023: VK +vk: + weight: 23 + prefix: https://vk.com/ + title: VK + icon: + class: fab fa-vk fa-fw + +# 024: Flickr +flickr: + weight: 24 + prefix: https://www.flickr.com/photos/ + title: Flickr + icon: + class: fab fa-flickr fa-fw + +# 025: Xing +xing: + weight: 25 + prefix: https://www.xing.com/profile/ + title: Xing + icon: + class: fab fa-xing fa-fw + +# 026: Snapchat +snapchat: + weight: 26 + prefix: https://www.snapchat.com/add/ + title: Snapchat + icon: + class: fab fa-snapchat fa-fw + +# 027: SoundCloud +soundcloud: + weight: 27 + prefix: https://soundcloud.com/ + title: SoundCloud + icon: + class: fab fa-soundcloud fa-fw + +# 028: Spotify +spotify: + weight: 28 + prefix: https://open.spotify.com/user/ + title: Spotify + icon: + class: fab fa-spotify fa-fw + +# 029: Bandcamp +bandcamp: + weight: 29 + template: https://%v.bandcamp.com/ + title: Bandcamp + icon: + class: fab fa-bandcamp fa-fw + +# 030: PayPal +paypal: + weight: 30 + prefix: https://paypal.me/ + title: PayPal + icon: + class: fab fa-paypal fa-fw + +# 031: 500px +fivehundredpx: + weight: 31 + prefix: https://500px.com/ + title: 500px + icon: + class: fab fa-500px fa-fw + +# 032: Mix +mix: + weight: 32 + prefix: https://mix.com/ + title: Mix + icon: + class: fab fa-mix fa-fw + +# 033: Goodreads +goodreads: + weight: 33 + prefix: https://www.goodreads.com/user/show/ + title: Goodreads + icon: + class: fab fa-goodreads fa-fw + +# 034: Last.fm +lastfm: + weight: 34 + prefix: https://www.last.fm/user/ + title: Last.fm + icon: + class: fab fa-lastfm fa-fw + +# 035: Foursquare +foursquare: + weight: 35 + prefix: https://foursquare.com/ + title: Foursquare + icon: + class: fab fa-foursquare fa-fw + +# 036: Hacker News +hackernews: + weight: 36 + template: https://news.ycombinator.com/user?id=%v + title: Hacker News + icon: + class: fab fa-hacker-news fa-fw + +# 037: Kickstarter +kickstarter: + weight: 37 + prefix: https://kickstarter.com/profile/ + title: Kickstarter + icon: + class: fab fa-kickstarter fa-fw + +# 038: Patreon +patreon: + weight: 38 + prefix: https://patreon.com/ + title: Patreon + icon: + class: fab fa-patreon fa-fw + +# 039: Steam +steam: + weight: 39 + prefix: https://steamcommunity.com/id/ + title: Steam + icon: + class: fab fa-steam fa-fw + +# 040: Twitch +twitch: + weight: 40 + prefix: https://www.twitch.tv/ + title: Twitch + icon: + class: fab fa-twitch fa-fw + +# 041: Strava +strava: + weight: 41 + prefix: https://www.strava.com/athletes/ + title: Strava + icon: + class: fab fa-strava fa-fw + +# 042: Skype +skype: + weight: 42 + template: "skype:" + title: Skype + icon: + class: fab fa-skype fa-fw + +# 043: WhatsApp +whatsapp: + weight: 43 + prefix: https://wa.me/ + title: WhatsApp + icon: + class: fab fa-whatsapp fa-fw + +# 044: 知乎 +zhihu: + weight: 44 + prefix: https://www.zhihu.com/people/ + title: 知乎 + icon: + simpleicons: zhihu + +# 045: 豆瓣 +douban: + weight: 45 + prefix: https://www.douban.com/people/ + title: 豆瓣 + icon: + simpleicons: douban + +# 046: Angellist +angellist: + weight: 46 + prefix: https://angel.co/ + title: Angellist + icon: + class: fab fa-angellist fa-fw + +# 047: SlideShare +slideshare: + weight: 47 + prefix: https://slideshare.com/ + title: SlideShare + icon: + class: fab fa-slideshare fa-fw + +# 048: JSFiddle +jsfiddle: + weight: 48 + prefix: https://jsfiddle.com/ + title: JSFiddle + icon: + class: fab fa-jsfiddle fa-fw + +# 049: DeviantArt +deviantart: + weight: 49 + template: https://%v.deviantart.com/ + title: DeviantArt + icon: + class: fab fa-deviantart fa-fw + +# 050: Behance +behance: + weight: 50 + prefix: https://behance.net/ + title: Behance + icon: + class: fab fa-behance fa-fw + +# 051: Dribbble +dribbble: + weight: 51 + prefix: https://dribbble.com/ + title: Dribbble + icon: + class: fab fa-dribbble fa-fw + +# 052: WordPress +wordpress: + weight: 52 + template: https://%v.wordpress.com/ + title: WordPress + icon: + class: fab fa-wordpress fa-fw + +# 053: Vine +vine: + weight: 53 + prefix: https://vine.co/ + title: Vine + icon: + class: fab fa-vine fa-fw + +# 054: Google Scholar +googlescholar: + weight: 54 + template: https://scholar.google.com/citations?%v + title: Google Scholar + icon: + simpleicons: googlescholar + +# 055: ResearchGate +researchgate: + weight: 55 + prefix: https://www.researchgate.net/profile/ + title: ResearchGate + icon: + class: fab fa-researchgate fa-fw + +# 056: Mastodon +mastodon: + weight: 56 + prefix: https://hostux.social/ + title: Mastodon + icon: + class: fab fa-mastodon fa-fw + +# 057: Thingiverse +thingiverse: + weight: 57 + prefix: https://www.thingiverse.com/ + title: Thingiverse + icon: + src: svg/icons/thingiverse.svg + +# 058: Dev.To +devto: + weight: 58 + prefix: https://dev.to/ + title: Dev.To + icon: + class: fab fa-dev fa-fw + +# 059: Gitea +gitea: + weight: 59 + title: Gitea + icon: + simpleicons: gitea + +# 060: XMPP +xmpp: + weight: 60 + template: xmpp:%v + title: XMPP + icon: + simpleicons: xmpp + +# 061: Matrix +matrix: + weight: 61 + prefix: https://matrix.to/#/ + title: Matrix + icon: + simpleicons: matrix + +# 062: bilibili +bilibili: + weight: 62 + prefix: https://space.bilibili.com/ + title: bilibili + icon: + src: svg/icons/bilibili.svg + +# 063: Email +email: + weight: 63 + template: mailto:%v + title: Email + icon: + class: fas fa-envelope fa-fw + +# 064: RSS +rss: + weight: 64 + url: /index.xml + title: RSS + newtab: true + icon: + class: fas fa-rss fa-fw diff --git a/themes/notrack/LICENSE.md b/themes/notrack/LICENSE.md new file mode 100644 index 0000000..f288702 --- /dev/null +++ b/themes/notrack/LICENSE.md @@ -0,0 +1,674 @@ + GNU GENERAL PUBLIC LICENSE + Version 3, 29 June 2007 + + Copyright (C) 2007 Free Software Foundation, Inc. + Everyone is permitted to copy and distribute verbatim copies + of this license document, but changing it is not allowed. + + Preamble + + The GNU General Public License is a free, copyleft license for +software and other kinds of works. + + The licenses for most software and other practical works are designed +to take away your freedom to share and change the works. By contrast, +the GNU General Public License is intended to guarantee your freedom to +share and change all versions of a program--to make sure it remains free +software for all its users. We, the Free Software Foundation, use the +GNU General Public License for most of our software; it applies also to +any other work released this way by its authors. You can apply it to +your programs, too. + + When we speak of free software, we are referring to freedom, not +price. Our General Public Licenses are designed to make sure that you +have the freedom to distribute copies of free software (and charge for +them if you wish), that you receive source code or can get it if you +want it, that you can change the software or use pieces of it in new +free programs, and that you know you can do these things. + + To protect your rights, we need to prevent others from denying you +these rights or asking you to surrender the rights. Therefore, you have +certain responsibilities if you distribute copies of the software, or if +you modify it: responsibilities to respect the freedom of others. + + For example, if you distribute copies of such a program, whether +gratis or for a fee, you must pass on to the recipients the same +freedoms that you received. You must make sure that they, too, receive +or can get the source code. And you must show them these terms so they +know their rights. + + Developers that use the GNU GPL protect your rights with two steps: +(1) assert copyright on the software, and (2) offer you this License +giving you legal permission to copy, distribute and/or modify it. + + For the developers' and authors' protection, the GPL clearly explains +that there is no warranty for this free software. For both users' and +authors' sake, the GPL requires that modified versions be marked as +changed, so that their problems will not be attributed erroneously to +authors of previous versions. + + Some devices are designed to deny users access to install or run +modified versions of the software inside them, although the manufacturer +can do so. This is fundamentally incompatible with the aim of +protecting users' freedom to change the software. The systematic +pattern of such abuse occurs in the area of products for individuals to +use, which is precisely where it is most unacceptable. Therefore, we +have designed this version of the GPL to prohibit the practice for those +products. If such problems arise substantially in other domains, we +stand ready to extend this provision to those domains in future versions +of the GPL, as needed to protect the freedom of users. + + Finally, every program is threatened constantly by software patents. +States should not allow patents to restrict development and use of +software on general-purpose computers, but in those that do, we wish to +avoid the special danger that patents applied to a free program could +make it effectively proprietary. To prevent this, the GPL assures that +patents cannot be used to render the program non-free. + + The precise terms and conditions for copying, distribution and +modification follow. + + TERMS AND CONDITIONS + + 0. Definitions. + + "This License" refers to version 3 of the GNU General Public License. + + "Copyright" also means copyright-like laws that apply to other kinds of +works, such as semiconductor masks. + + "The Program" refers to any copyrightable work licensed under this +License. Each licensee is addressed as "you". "Licensees" and +"recipients" may be individuals or organizations. + + To "modify" a work means to copy from or adapt all or part of the work +in a fashion requiring copyright permission, other than the making of an +exact copy. The resulting work is called a "modified version" of the +earlier work or a work "based on" the earlier work. + + A "covered work" means either the unmodified Program or a work based +on the Program. + + To "propagate" a work means to do anything with it that, without +permission, would make you directly or secondarily liable for +infringement under applicable copyright law, except executing it on a +computer or modifying a private copy. Propagation includes copying, +distribution (with or without modification), making available to the +public, and in some countries other activities as well. + + To "convey" a work means any kind of propagation that enables other +parties to make or receive copies. Mere interaction with a user through +a computer network, with no transfer of a copy, is not conveying. + + An interactive user interface displays "Appropriate Legal Notices" +to the extent that it includes a convenient and prominently visible +feature that (1) displays an appropriate copyright notice, and (2) +tells the user that there is no warranty for the work (except to the +extent that warranties are provided), that licensees may convey the +work under this License, and how to view a copy of this License. If +the interface presents a list of user commands or options, such as a +menu, a prominent item in the list meets this criterion. + + 1. Source Code. + + The "source code" for a work means the preferred form of the work +for making modifications to it. "Object code" means any non-source +form of a work. + + A "Standard Interface" means an interface that either is an official +standard defined by a recognized standards body, or, in the case of +interfaces specified for a particular programming language, one that +is widely used among developers working in that language. + + The "System Libraries" of an executable work include anything, other +than the work as a whole, that (a) is included in the normal form of +packaging a Major Component, but which is not part of that Major +Component, and (b) serves only to enable use of the work with that +Major Component, or to implement a Standard Interface for which an +implementation is available to the public in source code form. A +"Major Component", in this context, means a major essential component +(kernel, window system, and so on) of the specific operating system +(if any) on which the executable work runs, or a compiler used to +produce the work, or an object code interpreter used to run it. + + The "Corresponding Source" for a work in object code form means all +the source code needed to generate, install, and (for an executable +work) run the object code and to modify the work, including scripts to +control those activities. However, it does not include the work's +System Libraries, or general-purpose tools or generally available free +programs which are used unmodified in performing those activities but +which are not part of the work. For example, Corresponding Source +includes interface definition files associated with source files for +the work, and the source code for shared libraries and dynamically +linked subprograms that the work is specifically designed to require, +such as by intimate data communication or control flow between those +subprograms and other parts of the work. + + The Corresponding Source need not include anything that users +can regenerate automatically from other parts of the Corresponding +Source. + + The Corresponding Source for a work in source code form is that +same work. + + 2. Basic Permissions. + + All rights granted under this License are granted for the term of +copyright on the Program, and are irrevocable provided the stated +conditions are met. This License explicitly affirms your unlimited +permission to run the unmodified Program. The output from running a +covered work is covered by this License only if the output, given its +content, constitutes a covered work. This License acknowledges your +rights of fair use or other equivalent, as provided by copyright law. + + You may make, run and propagate covered works that you do not +convey, without conditions so long as your license otherwise remains +in force. You may convey covered works to others for the sole purpose +of having them make modifications exclusively for you, or provide you +with facilities for running those works, provided that you comply with +the terms of this License in conveying all material for which you do +not control copyright. Those thus making or running the covered works +for you must do so exclusively on your behalf, under your direction +and control, on terms that prohibit them from making any copies of +your copyrighted material outside their relationship with you. + + Conveying under any other circumstances is permitted solely under +the conditions stated below. Sublicensing is not allowed; section 10 +makes it unnecessary. + + 3. Protecting Users' Legal Rights From Anti-Circumvention Law. + + No covered work shall be deemed part of an effective technological +measure under any applicable law fulfilling obligations under article +11 of the WIPO copyright treaty adopted on 20 December 1996, or +similar laws prohibiting or restricting circumvention of such +measures. + + When you convey a covered work, you waive any legal power to forbid +circumvention of technological measures to the extent such circumvention +is effected by exercising rights under this License with respect to +the covered work, and you disclaim any intention to limit operation or +modification of the work as a means of enforcing, against the work's +users, your or third parties' legal rights to forbid circumvention of +technological measures. + + 4. Conveying Verbatim Copies. + + You may convey verbatim copies of the Program's source code as you +receive it, in any medium, provided that you conspicuously and +appropriately publish on each copy an appropriate copyright notice; +keep intact all notices stating that this License and any +non-permissive terms added in accord with section 7 apply to the code; +keep intact all notices of the absence of any warranty; and give all +recipients a copy of this License along with the Program. + + You may charge any price or no price for each copy that you convey, +and you may offer support or warranty protection for a fee. + + 5. Conveying Modified Source Versions. + + You may convey a work based on the Program, or the modifications to +produce it from the Program, in the form of source code under the +terms of section 4, provided that you also meet all of these conditions: + + a) The work must carry prominent notices stating that you modified + it, and giving a relevant date. + + b) The work must carry prominent notices stating that it is + released under this License and any conditions added under section + 7. This requirement modifies the requirement in section 4 to + "keep intact all notices". + + c) You must license the entire work, as a whole, under this + License to anyone who comes into possession of a copy. This + License will therefore apply, along with any applicable section 7 + additional terms, to the whole of the work, and all its parts, + regardless of how they are packaged. This License gives no + permission to license the work in any other way, but it does not + invalidate such permission if you have separately received it. + + d) If the work has interactive user interfaces, each must display + Appropriate Legal Notices; however, if the Program has interactive + interfaces that do not display Appropriate Legal Notices, your + work need not make them do so. + + A compilation of a covered work with other separate and independent +works, which are not by their nature extensions of the covered work, +and which are not combined with it such as to form a larger program, +in or on a volume of a storage or distribution medium, is called an +"aggregate" if the compilation and its resulting copyright are not +used to limit the access or legal rights of the compilation's users +beyond what the individual works permit. Inclusion of a covered work +in an aggregate does not cause this License to apply to the other +parts of the aggregate. + + 6. Conveying Non-Source Forms. + + You may convey a covered work in object code form under the terms +of sections 4 and 5, provided that you also convey the +machine-readable Corresponding Source under the terms of this License, +in one of these ways: + + a) Convey the object code in, or embodied in, a physical product + (including a physical distribution medium), accompanied by the + Corresponding Source fixed on a durable physical medium + customarily used for software interchange. + + b) Convey the object code in, or embodied in, a physical product + (including a physical distribution medium), accompanied by a + written offer, valid for at least three years and valid for as + long as you offer spare parts or customer support for that product + model, to give anyone who possesses the object code either (1) a + copy of the Corresponding Source for all the software in the + product that is covered by this License, on a durable physical + medium customarily used for software interchange, for a price no + more than your reasonable cost of physically performing this + conveying of source, or (2) access to copy the + Corresponding Source from a network server at no charge. + + c) Convey individual copies of the object code with a copy of the + written offer to provide the Corresponding Source. This + alternative is allowed only occasionally and noncommercially, and + only if you received the object code with such an offer, in accord + with subsection 6b. + + d) Convey the object code by offering access from a designated + place (gratis or for a charge), and offer equivalent access to the + Corresponding Source in the same way through the same place at no + further charge. You need not require recipients to copy the + Corresponding Source along with the object code. If the place to + copy the object code is a network server, the Corresponding Source + may be on a different server (operated by you or a third party) + that supports equivalent copying facilities, provided you maintain + clear directions next to the object code saying where to find the + Corresponding Source. Regardless of what server hosts the + Corresponding Source, you remain obligated to ensure that it is + available for as long as needed to satisfy these requirements. + + e) Convey the object code using peer-to-peer transmission, provided + you inform other peers where the object code and Corresponding + Source of the work are being offered to the general public at no + charge under subsection 6d. + + A separable portion of the object code, whose source code is excluded +from the Corresponding Source as a System Library, need not be +included in conveying the object code work. + + A "User Product" is either (1) a "consumer product", which means any +tangible personal property which is normally used for personal, family, +or household purposes, or (2) anything designed or sold for incorporation +into a dwelling. In determining whether a product is a consumer product, +doubtful cases shall be resolved in favor of coverage. For a particular +product received by a particular user, "normally used" refers to a +typical or common use of that class of product, regardless of the status +of the particular user or of the way in which the particular user +actually uses, or expects or is expected to use, the product. A product +is a consumer product regardless of whether the product has substantial +commercial, industrial or non-consumer uses, unless such uses represent +the only significant mode of use of the product. + + "Installation Information" for a User Product means any methods, +procedures, authorization keys, or other information required to install +and execute modified versions of a covered work in that User Product from +a modified version of its Corresponding Source. The information must +suffice to ensure that the continued functioning of the modified object +code is in no case prevented or interfered with solely because +modification has been made. + + If you convey an object code work under this section in, or with, or +specifically for use in, a User Product, and the conveying occurs as +part of a transaction in which the right of possession and use of the +User Product is transferred to the recipient in perpetuity or for a +fixed term (regardless of how the transaction is characterized), the +Corresponding Source conveyed under this section must be accompanied +by the Installation Information. But this requirement does not apply +if neither you nor any third party retains the ability to install +modified object code on the User Product (for example, the work has +been installed in ROM). + + The requirement to provide Installation Information does not include a +requirement to continue to provide support service, warranty, or updates +for a work that has been modified or installed by the recipient, or for +the User Product in which it has been modified or installed. Access to a +network may be denied when the modification itself materially and +adversely affects the operation of the network or violates the rules and +protocols for communication across the network. + + Corresponding Source conveyed, and Installation Information provided, +in accord with this section must be in a format that is publicly +documented (and with an implementation available to the public in +source code form), and must require no special password or key for +unpacking, reading or copying. + + 7. Additional Terms. + + "Additional permissions" are terms that supplement the terms of this +License by making exceptions from one or more of its conditions. +Additional permissions that are applicable to the entire Program shall +be treated as though they were included in this License, to the extent +that they are valid under applicable law. If additional permissions +apply only to part of the Program, that part may be used separately +under those permissions, but the entire Program remains governed by +this License without regard to the additional permissions. + + When you convey a copy of a covered work, you may at your option +remove any additional permissions from that copy, or from any part of +it. (Additional permissions may be written to require their own +removal in certain cases when you modify the work.) You may place +additional permissions on material, added by you to a covered work, +for which you have or can give appropriate copyright permission. + + Notwithstanding any other provision of this License, for material you +add to a covered work, you may (if authorized by the copyright holders of +that material) supplement the terms of this License with terms: + + a) Disclaiming warranty or limiting liability differently from the + terms of sections 15 and 16 of this License; or + + b) Requiring preservation of specified reasonable legal notices or + author attributions in that material or in the Appropriate Legal + Notices displayed by works containing it; or + + c) Prohibiting misrepresentation of the origin of that material, or + requiring that modified versions of such material be marked in + reasonable ways as different from the original version; or + + d) Limiting the use for publicity purposes of names of licensors or + authors of the material; or + + e) Declining to grant rights under trademark law for use of some + trade names, trademarks, or service marks; or + + f) Requiring indemnification of licensors and authors of that + material by anyone who conveys the material (or modified versions of + it) with contractual assumptions of liability to the recipient, for + any liability that these contractual assumptions directly impose on + those licensors and authors. + + All other non-permissive additional terms are considered "further +restrictions" within the meaning of section 10. If the Program as you +received it, or any part of it, contains a notice stating that it is +governed by this License along with a term that is a further +restriction, you may remove that term. If a license document contains +a further restriction but permits relicensing or conveying under this +License, you may add to a covered work material governed by the terms +of that license document, provided that the further restriction does +not survive such relicensing or conveying. + + If you add terms to a covered work in accord with this section, you +must place, in the relevant source files, a statement of the +additional terms that apply to those files, or a notice indicating +where to find the applicable terms. + + Additional terms, permissive or non-permissive, may be stated in the +form of a separately written license, or stated as exceptions; +the above requirements apply either way. + + 8. Termination. + + You may not propagate or modify a covered work except as expressly +provided under this License. Any attempt otherwise to propagate or +modify it is void, and will automatically terminate your rights under +this License (including any patent licenses granted under the third +paragraph of section 11). + + However, if you cease all violation of this License, then your +license from a particular copyright holder is reinstated (a) +provisionally, unless and until the copyright holder explicitly and +finally terminates your license, and (b) permanently, if the copyright +holder fails to notify you of the violation by some reasonable means +prior to 60 days after the cessation. + + Moreover, your license from a particular copyright holder is +reinstated permanently if the copyright holder notifies you of the +violation by some reasonable means, this is the first time you have +received notice of violation of this License (for any work) from that +copyright holder, and you cure the violation prior to 30 days after +your receipt of the notice. + + Termination of your rights under this section does not terminate the +licenses of parties who have received copies or rights from you under +this License. If your rights have been terminated and not permanently +reinstated, you do not qualify to receive new licenses for the same +material under section 10. + + 9. Acceptance Not Required for Having Copies. + + You are not required to accept this License in order to receive or +run a copy of the Program. Ancillary propagation of a covered work +occurring solely as a consequence of using peer-to-peer transmission +to receive a copy likewise does not require acceptance. However, +nothing other than this License grants you permission to propagate or +modify any covered work. These actions infringe copyright if you do +not accept this License. Therefore, by modifying or propagating a +covered work, you indicate your acceptance of this License to do so. + + 10. Automatic Licensing of Downstream Recipients. + + Each time you convey a covered work, the recipient automatically +receives a license from the original licensors, to run, modify and +propagate that work, subject to this License. You are not responsible +for enforcing compliance by third parties with this License. + + An "entity transaction" is a transaction transferring control of an +organization, or substantially all assets of one, or subdividing an +organization, or merging organizations. If propagation of a covered +work results from an entity transaction, each party to that +transaction who receives a copy of the work also receives whatever +licenses to the work the party's predecessor in interest had or could +give under the previous paragraph, plus a right to possession of the +Corresponding Source of the work from the predecessor in interest, if +the predecessor has it or can get it with reasonable efforts. + + You may not impose any further restrictions on the exercise of the +rights granted or affirmed under this License. For example, you may +not impose a license fee, royalty, or other charge for exercise of +rights granted under this License, and you may not initiate litigation +(including a cross-claim or counterclaim in a lawsuit) alleging that +any patent claim is infringed by making, using, selling, offering for +sale, or importing the Program or any portion of it. + + 11. Patents. + + A "contributor" is a copyright holder who authorizes use under this +License of the Program or a work on which the Program is based. The +work thus licensed is called the contributor's "contributor version". + + A contributor's "essential patent claims" are all patent claims +owned or controlled by the contributor, whether already acquired or +hereafter acquired, that would be infringed by some manner, permitted +by this License, of making, using, or selling its contributor version, +but do not include claims that would be infringed only as a +consequence of further modification of the contributor version. For +purposes of this definition, "control" includes the right to grant +patent sublicenses in a manner consistent with the requirements of +this License. + + Each contributor grants you a non-exclusive, worldwide, royalty-free +patent license under the contributor's essential patent claims, to +make, use, sell, offer for sale, import and otherwise run, modify and +propagate the contents of its contributor version. + + In the following three paragraphs, a "patent license" is any express +agreement or commitment, however denominated, not to enforce a patent +(such as an express permission to practice a patent or covenant not to +sue for patent infringement). To "grant" such a patent license to a +party means to make such an agreement or commitment not to enforce a +patent against the party. + + If you convey a covered work, knowingly relying on a patent license, +and the Corresponding Source of the work is not available for anyone +to copy, free of charge and under the terms of this License, through a +publicly available network server or other readily accessible means, +then you must either (1) cause the Corresponding Source to be so +available, or (2) arrange to deprive yourself of the benefit of the +patent license for this particular work, or (3) arrange, in a manner +consistent with the requirements of this License, to extend the patent +license to downstream recipients. "Knowingly relying" means you have +actual knowledge that, but for the patent license, your conveying the +covered work in a country, or your recipient's use of the covered work +in a country, would infringe one or more identifiable patents in that +country that you have reason to believe are valid. + + If, pursuant to or in connection with a single transaction or +arrangement, you convey, or propagate by procuring conveyance of, a +covered work, and grant a patent license to some of the parties +receiving the covered work authorizing them to use, propagate, modify +or convey a specific copy of the covered work, then the patent license +you grant is automatically extended to all recipients of the covered +work and works based on it. + + A patent license is "discriminatory" if it does not include within +the scope of its coverage, prohibits the exercise of, or is +conditioned on the non-exercise of one or more of the rights that are +specifically granted under this License. You may not convey a covered +work if you are a party to an arrangement with a third party that is +in the business of distributing software, under which you make payment +to the third party based on the extent of your activity of conveying +the work, and under which the third party grants, to any of the +parties who would receive the covered work from you, a discriminatory +patent license (a) in connection with copies of the covered work +conveyed by you (or copies made from those copies), or (b) primarily +for and in connection with specific products or compilations that +contain the covered work, unless you entered into that arrangement, +or that patent license was granted, prior to 28 March 2007. + + Nothing in this License shall be construed as excluding or limiting +any implied license or other defenses to infringement that may +otherwise be available to you under applicable patent law. + + 12. No Surrender of Others' Freedom. + + If conditions are imposed on you (whether by court order, agreement or +otherwise) that contradict the conditions of this License, they do not +excuse you from the conditions of this License. If you cannot convey a +covered work so as to satisfy simultaneously your obligations under this +License and any other pertinent obligations, then as a consequence you may +not convey it at all. For example, if you agree to terms that obligate you +to collect a royalty for further conveying from those to whom you convey +the Program, the only way you could satisfy both those terms and this +License would be to refrain entirely from conveying the Program. + + 13. Use with the GNU Affero General Public License. + + Notwithstanding any other provision of this License, you have +permission to link or combine any covered work with a work licensed +under version 3 of the GNU Affero General Public License into a single +combined work, and to convey the resulting work. The terms of this +License will continue to apply to the part which is the covered work, +but the special requirements of the GNU Affero General Public License, +section 13, concerning interaction through a network will apply to the +combination as such. + + 14. Revised Versions of this License. + + The Free Software Foundation may publish revised and/or new versions of +the GNU General Public License from time to time. Such new versions will +be similar in spirit to the present version, but may differ in detail to +address new problems or concerns. + + Each version is given a distinguishing version number. If the +Program specifies that a certain numbered version of the GNU General +Public License "or any later version" applies to it, you have the +option of following the terms and conditions either of that numbered +version or of any later version published by the Free Software +Foundation. If the Program does not specify a version number of the +GNU General Public License, you may choose any version ever published +by the Free Software Foundation. + + If the Program specifies that a proxy can decide which future +versions of the GNU General Public License can be used, that proxy's +public statement of acceptance of a version permanently authorizes you +to choose that version for the Program. + + Later license versions may give you additional or different +permissions. However, no additional obligations are imposed on any +author or copyright holder as a result of your choosing to follow a +later version. + + 15. Disclaimer of Warranty. + + THERE IS NO WARRANTY FOR THE PROGRAM, TO THE EXTENT PERMITTED BY +APPLICABLE LAW. EXCEPT WHEN OTHERWISE STATED IN WRITING THE COPYRIGHT +HOLDERS AND/OR OTHER PARTIES PROVIDE THE PROGRAM "AS IS" WITHOUT WARRANTY +OF ANY KIND, EITHER EXPRESSED OR IMPLIED, INCLUDING, BUT NOT LIMITED TO, +THE IMPLIED WARRANTIES OF MERCHANTABILITY AND FITNESS FOR A PARTICULAR +PURPOSE. THE ENTIRE RISK AS TO THE QUALITY AND PERFORMANCE OF THE PROGRAM +IS WITH YOU. SHOULD THE PROGRAM PROVE DEFECTIVE, YOU ASSUME THE COST OF +ALL NECESSARY SERVICING, REPAIR OR CORRECTION. + + 16. Limitation of Liability. + + IN NO EVENT UNLESS REQUIRED BY APPLICABLE LAW OR AGREED TO IN WRITING +WILL ANY COPYRIGHT HOLDER, OR ANY OTHER PARTY WHO MODIFIES AND/OR CONVEYS +THE PROGRAM AS PERMITTED ABOVE, BE LIABLE TO YOU FOR DAMAGES, INCLUDING ANY +GENERAL, SPECIAL, INCIDENTAL OR CONSEQUENTIAL DAMAGES ARISING OUT OF THE +USE OR INABILITY TO USE THE PROGRAM (INCLUDING BUT NOT LIMITED TO LOSS OF +DATA OR DATA BEING RENDERED INACCURATE OR LOSSES SUSTAINED BY YOU OR THIRD +PARTIES OR A FAILURE OF THE PROGRAM TO OPERATE WITH ANY OTHER PROGRAMS), +EVEN IF SUCH HOLDER OR OTHER PARTY HAS BEEN ADVISED OF THE POSSIBILITY OF +SUCH DAMAGES. + + 17. Interpretation of Sections 15 and 16. + + If the disclaimer of warranty and limitation of liability provided +above cannot be given local legal effect according to their terms, +reviewing courts shall apply local law that most closely approximates +an absolute waiver of all civil liability in connection with the +Program, unless a warranty or assumption of liability accompanies a +copy of the Program in return for a fee. + + END OF TERMS AND CONDITIONS + + How to Apply These Terms to Your New Programs + + If you develop a new program, and you want it to be of the greatest +possible use to the public, the best way to achieve this is to make it +free software which everyone can redistribute and change under these terms. + + To do so, attach the following notices to the program. It is safest +to attach them to the start of each source file to most effectively +state the exclusion of warranty; and each file should have at least +the "copyright" line and a pointer to where the full notice is found. + + + Copyright (C) + + This program is free software: you can redistribute it and/or modify + it under the terms of the GNU General Public License as published by + the Free Software Foundation, either version 3 of the License, or + (at your option) any later version. + + This program is distributed in the hope that it will be useful, + but WITHOUT ANY WARRANTY; without even the implied warranty of + MERCHANTABILITY or FITNESS FOR A PARTICULAR PURPOSE. See the + GNU General Public License for more details. + + You should have received a copy of the GNU General Public License + along with this program. If not, see . + +Also add information on how to contact you by electronic and paper mail. + + If the program does terminal interaction, make it output a short +notice like this when it starts in an interactive mode: + + Copyright (C) + This program comes with ABSOLUTELY NO WARRANTY; for details type `show w'. + This is free software, and you are welcome to redistribute it + under certain conditions; type `show c' for details. + +The hypothetical commands `show w' and `show c' should show the appropriate +parts of the General Public License. Of course, your program's commands +might be different; for a GUI interface, you would use an "about box". + + You should also get your employer (if you work as a programmer) or school, +if any, to sign a "copyright disclaimer" for the program, if necessary. +For more information on this, and how to apply and follow the GNU GPL, see +. + + The GNU General Public License does not permit incorporating your program +into proprietary programs. If your program is a subroutine library, you +may consider it more useful to permit linking proprietary applications with +the library. If this is what you want to do, use the GNU Lesser General +Public License instead of this License. But first, please read +. diff --git a/themes/notrack/README.md b/themes/notrack/README.md new file mode 100644 index 0000000..812c580 --- /dev/null +++ b/themes/notrack/README.md @@ -0,0 +1,492 @@ +# Notrack + +An original, minimal theme with a focus on self-sufficiency and +decentralization. By default, Notrack does not rely on any third parties +to serve your website. The only exception is Disqus comments, which are +not used by default (see [Adding +comments](#user-content-adding-comments) below). + +# Table of contents + +* [Notrack](#user-content-notrack) +* [Table of contents](#user-content-table-of-contents) +* [Screenshot](#user-content-screenshot) +* [Example site `config`](#user-content-example-site-config) +* [Shortcodes](#user-content-shortcodes) +* [User CSS](#user-content-user-css) +* [Navigation bar](#user-content-navigation-bar) + * [How to add a page to the navigation bar](#user-content-how-to-add-a-page-to-the-navigation-bar) + * [How to add a page to drop down menu](#user-content-how-to-add-a-page-to-drop-down-menu) +* [How tos](#user-content-how-tos) + * [How to create a home page](#user-content-how-to-create-a-home-page) + * [How to create a blog](#user-content-how-to-create-a-blog) + * [Adding comments](#user-content-adding-comments) + * [How to create a gallery](#user-content-how-to-create-a-gallery) + * [How to create a resume](#user-content-how-to-create-a-resume) + * [How to display social links](#user-content-how-to-display-social-links) +* [Other projects used in this theme](#user-content-other-projects-used-in-this-theme) +* [Contribution](#user-content-contribution) + +# Screenshot + +![Screenshot of the +theme](https://raw.githubusercontent.com/gevhaz/hugo-theme-notrack/master/images/screenshot.png) + +# Example site `config` + +Here is a working `config.yaml`: + +``` +baseURL = "http://example.org/" +languageCode = "en-us" +title = "Lawyer Hugo Grotius" +theme = "notrack" +newContentEditor = "nvim" +mainSections = ["blog"] +# disqusShortname = "example" +paginate = 4 + +[params] + author = "Hugo de Groot" + siteHeading = "Hugo Grotius" # defaults to author + showBlogLatest = true + mainSections = ["blog"] + showTaxonomyLinks = false + nBlogLatest = 4 # number of blog post om the home page + blogLatestHeading = "My writing" + + [params.social] + github = "example" + linkedin = "example" + email = "example@example.com" + mastodon = "example" + medium = "example" + keybase = "example" + +[taxonomies] + year = "year" + month = "month" + tags = "tags" + categories = "categories" + +[permalinks] + blog = "/blog/:year/:month/:slug" +``` + +# Shortcodes + +| Category | Shortcode | Description | +| :--- | :--- | :--- | +| **Contact info** | contact-box | Displays contact info set in params.social | +| | social | Displays contact info set in params.social | +| **Photo Gallery** | gallery-category | Container for gallery-photo shortcodes | +| | gallery-modal | HTML to allow for full page view of gallery photos | +| | gallery-photo | Include a photo in a gallery | +| | gallery-script | Script to allow for full page view of gallery photos | +| **General** | image | Image for use in any page. See example in [How to create a blog](#user-content-how-to-create-a-blog) | +| | video | Similar to an ordinary