Verified Commit 8e61a55f authored by Renato Alves's avatar Renato Alves 🌱
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Make theme ananke a submodule

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[submodule "themes/ananke"]
path = themes/ananke
url =
Subproject commit af7976ea28640bdb29155253cf9d78983036bda9
# OS
# IDEs
# Vagrant
# FE Setup
# Changelog
All notable changes to this project will be documented in this file.
The format is based on [Keep a Changelog]( and this project adheres to [Semantic Versioning](
## [2.37] - 2018-12-26 (@budparr)
- Improve Readme with path to example site #146
- Update asset dependencies a99f95ef1f4c1f9b0a278e534ce6ace1b7441fd8
- Improve social follow link accessibility #147
## [2.35] - 2018-11-04 (@budparr)
- Add global background color class to footer (it's already on the header). Fixes #135
## [2.34] - 2018-11-03 (@budparr)
### Added
- Add a changelog.
### Changed
- Run Ananke with Hugo v0.50
- Remove default background image so users can choose to not use one at all. #133 (cdeguise)
- Add reading time and word count to pages, conditionally if set at global, page, or section level with the `show_reading_time` key. (thanks to @looer for starting)
The MIT License (MIT)
Copyright (c) 2016 Bud Parr
Permission is hereby granted, free of charge, to any person obtaining a copy of
this software and associated documentation files (the "Software"), to deal in
the Software without restriction, including without limitation the rights to
use, copy, modify, merge, publish, distribute, sublicense, and/or sell copies of
the Software, and to permit persons to whom the Software is furnished to do so,
subject to the following conditions:
The above copyright notice and this permission notice shall be included in all
copies or substantial portions of the Software.
# Ananke, A theme for [Hugo](, a framework for building websites.
The intent of this theme is to provide a solid starting place for Hugo sites with basic features and include best practices for performance, accessibility, and rapid development.
- Responsive
- Accessible
- Contact form
- Custom Robots.txt (changes values based on environment)
- Internal templates for meta data, google analytics, and DISQUS comments
- RSS Discovery
- Table of Contents (must declare `toc: true` in post parameter)
Also includes examples of Hugo Features or Functions:
- Pagination (internal template)
- Taxonomies
- Archetypes
- Custom shortcode
- Related content
- Hugo built-in menu
- `with`
- `first`
- `after`
- `sort`
- Site LanguageCode
- `where`
- Content Views
- Partials
- Template layouts (type "post" uses a special list template, single template, and a content view)
- Tags
- `len`
- Conditionals
- `ge` (greater than or equal to)
- `.Site.Params.mainSections` to avoid hard-coding "blog," etc. [[release note](]
This theme uses the "Tachyons" CSS library. This will allow you to manipulate the design of the theme by changing class names in HTML without touching the original CSS files. For more information see the [Tachyons website](
## Installation
Inside the folder of your Hugo site run:
$ cd themes
$ git clone
For more information read the official [setup guide](// of Hugo.
## Getting started
After installing the theme successfully it requires a just a few more steps to get your site running.
### The config file
Take a look inside the [`exampleSite`]( folder of this theme. You'll find a file called [`config.toml`]( To use it, copy the [`config.toml`]( in the root folder of your Hugo site. Feel free to change the strings in this theme.
You may need to delete the line: `themesDir = "../.."`
### Add comments
To enable DISQUS comments, add `disqusShortname = YOURSHORTNAME` to your config file.
### Change the hero background
For any page or post you can add a featured image by including the local path in front matter (see content in the `exampleSite/content/` file for examples): `featured_image: '/images/gohugo-default-sample-hero-image.jpg'`
If you would like to hide the header text on the featured image on a page, set `omit_header_text` to `true`. See `exampleSite/content/` for an example.
You don't need an image though. The default background color is black, but you can change the color, by changing the default color class in the config.toml file. Choose a background color from any on the [Tachyons]( library site, and preface it with "bg-"
example: `background_color_class = "bg-blue"` or `background_color_class = "bg-gray"`
### Activate the contact form
This theme includes a shortcode for a contact form that you can add to any page (there is an example on the contact page in the exampleSite folder). One option is to use [](// as proxy to send the actual email. Each month, visitors can send you up to one thousand emails without incurring extra charges. Visit the Formspree site to get the "action" link and add it to your shortcode like this:
{{< form-contact action="" >}}
### Update font or body classes
The theme is set, by default, to use a near-white background color and the "Avenir" or serif typeface. You can change these in your config file with the `body_classes` parameter, like this:
body_classes = "avenir bg-near-white"
which will give you a body class like this:
<body class="avenir bg-near-white">
You can find a list of available typefaces [here](
And a list of background colors [here](
_n.b. in future versions we will likely separate the typeface and other body classes._
### Custom CSS
You can override the built-in css by using your own. Just put your own css files in the `static` directory of your website (the one in the theme directory also works but is not recommended) and modify the `custom_css` parameter in your config file. The path referenced in the parameter should be relative to the `static` folder. These css files will be added through the `header` partial after the built-in css file.
For example, if your css files are `static/css/custom.css` and `static/css/custom2.css` then add the following to the config file:
custom_css = ["css/custom.css","css/custom2.css"]
### Show Reading Time and Word Contributing
If you add a key of `show_reading_time` true to either the Config Params, a page or section's front matter, articles will show the reading time and word count.
### Nearly finished
In order to see your site in action, run Hugo's built-in local server.
`$ hugo server`
Now enter [`localhost:1313`](http://localhost:1313/) in the address bar of your browser.
## Production
To run in production (e.g. to have Google Analytics show up), run `HUGO_ENV=production` before your build command. For example:
HUGO_ENV=production hugo
## Contributing
If you find a bug or have an idea for a feature, feel free to use the [issue tracker]( to let me know.
- fix hard-coded link to [section](
title = "{{ replace .TranslationBaseName "-" " " | title }}"
date = {{ .Date }}
tags = []
featured_image = ""
description = ""
"app": {
"js": "js/app.3fc0f988d21662902933.js",
"css": "css/app.955516233bcafa4d2a1c13cea63c7b50.css"
\ No newline at end of file
title = "Notre-Dame de Paris"
baseURL = ""
languageCode = "en-us"
theme = "gohugo-theme-ananke"
themesDir = "../.."
MetaDataFormat = "yaml"
DefaultContentLanguage = "en"
SectionPagesMenu = "main"
Paginate = 3 # this is set low for demonstrating with dummy content. Set to a higher number
googleAnalytics = ""
enableRobotsTXT = true
changefreq = "monthly"
priority = 0.5
filename = "sitemap.xml"
favicon = ""
description = "The last theme you'll ever need. Maybe."
facebook = ""
twitter = ""
instagram = ""
youtube = ""
github = ""
gitlab = ""
linkedin = ""
# choose a background color from any on this page: and preface it with "bg-"
background_color_class = "bg-black"
featured_image = "/images/gohugo-default-sample-hero-image.jpg"
recent_posts_number = 2
title: "Ananke: a Hugo Theme"
featured_image: '/images/gohugo-default-sample-hero-image.jpg'
description: "The last theme you'll ever need. Maybe."
Welcome to my blog with some of my work in progress. I've been working on this book idea. You can read some of the chapters below.
title: "About"
description: "A few years ago, while visiting or, rather, rummaging about Notre-Dame, the author of this book found, in an obscure nook of one of the towers, the following word, engraved by hand upon the wall: —ANANKE."
featured_image: ''
{{< figure src="/images/Victor_Hugo-Hunchback.jpg" title="Illustration from Victor Hugo et son temps (1881)" >}}
_The Hunchback of Notre-Dame_ (French: _Notre-Dame de Paris_) is a French Romantic/Gothic novel by Victor Hugo, published in 1831. The original French title refers to Notre Dame Cathedral, on which the story is centered. English translator Frederic Shoberl named the novel The Hunchback of Notre Dame in 1833 because at the time, Gothic novels were more popular than Romance novels in England. The story is set in Paris, France in the Late Middle Ages, during the reign of Louis XI.
title: Contact
featured_image: "images/notebook.jpg"
omit_header_text: true
description: We'd love to hear from you
type: page
main: {}
This is an example of a custom shortcode that you can put right into your content. You will need to add a form action to the the shortcode to make it work. Check out [Formspree]( for a simple, free form service.
{{< form-contact action="" >}}
title: "Articles"
date: 2017-03-02T12:00:00-05:00
Articles are paginated with only three posts here for example. You can set the number of entries to show on this page with the "pagination" setting in the config file.
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.
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
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
“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.”
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
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.