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From the Introduction by Michael Dirda

It is late summer, 1941. A young Jewish intellectual, an admirer of Gibbon's Decline and Fall of the Roman Empire, suddenly finds himself musing about historical determinism, individual initiative and the ideal society. Why did Rome fall? Was the Christian religion a means of preserving ancient culture? What forms of government and economic system are best for mankind? Democratic representation with capitalistic competition? Enlightened despotism? A meritocracy of the best and the brightest?

Having come of age in 1930s' New York, the young intellectual would have heard fervent Trotskyites on street corners proclaim that history advances through class struggle and through the conflict between evolving political and economic ideologies. He already knew that Arnold Toynbee, in A Study of History, contended that civilizations have their seasons — they rise, grow stagnant without sufficient challenges, eventually decay and fall. Still other thinkers, among them H.G. Wells, were convinced that the world should be governed by scientists, with rational benevolence. Wasn't that the theme of the recent movie, Things to Come (1936), with its vision of a perfectly ordered, chrome-bright "world of tomorrow"?

Still, all these systems and theories made historical change seem a cut-and-dried affair, quite logical, utterly inevitable. Yet where was the individual in these grand schemes of Marx and Toynbee and Wells? If only impersonal forces determined the course of events, how did one account for a Hitler?  An upstart from nowhere, he had manipulated the German people with a mesmerist's power, promulgated a manifest destiny for his chosen elite, declared a Thousand-Year Reich. Clearly, the so-called Führer viewed himself as a Great Man, able to reshape his time as did Alexander and Napoleon before him. Such overreachers truly make history, don't they?

So Isaac Asimov, a twenty-one-year-old Columbia graduate, must have thought and wondered when he sat down at his typewriter that summer of 1941. However, what the young writer eventually produced was neither a turgid sociological tract nor a summa of world history. Instead, through a series of stories, Asimov tracked the breakdown of a smug conspicuously rich and stultified civilization, while also portraying the efforts of a highly committed group of activists to hasten the birth of a new and more glorious future society. In effect, he took the central myth of the 1930s and '40s — lived out and believed in by Communists, Fascists, the International Brigade and New Deal Democrats alike — and re-imagined it, with spaceships, in a galaxy far, far away. Science fiction is, after all, the art of extrapolation.

By the time Asimov brought his much loved series to a halt in 1949, he had written eight stories and novellas depicting the collapse of a Galactic Empire, the war-torn feudal period that followed, and the mysterious Foundation established to preserve civilization in a time of barbarism. Gathered together into book form — what SF fans call a "fix-up" — the stories required three volumes: Foundation (1951), Foundation and Empire (1952) and  Second Foundation (1953). At the 1955 World Science Fiction Convention this trilogy was enthusiastically voted "the greatest all-time science-fiction series." Period. In the view of many, the assembled sequence also represents a watershed in literary history. A noted SF editor Donald Wollheim quickly realized: "Stores published before Foundation belong to the old line, the stories published after belong to 'modern' science fiction."


Isaac Asimov (1920-92) grew up in Brooklyn, the son of Russian Jewish immigrants. Something of a whiz kid, he graduated early from high school and attended Columbia University, first as an undergraduate and later as a biochemistry graduate student. After earning his Ph. D., he taught for many years at Boston University before giving up the academic life in 1958 to become a full-time writer.

As a teenager, Asimov had been a devoted reader of the pulp magazines at his father's candy store: Wonder Stories, Amazing Stories, Astounding Science Fiction. In their pages one could follow the galactic adventures of E. E. "Doc" Smith's "Skylark of Space," shudder at "The Human Pets of Mars" and fight alongside "Tumithak of the Corridors." Before long, the teenaged Asimov begun to crank out his own short stories; the first to be published "Marooned on Vest," appearing in Amazing in 1939. After many rejections, he shortly thereafter broke into Astounding — the premier magazine in the field — with "Trends" (originally titled, with a  kind of clairvoyance, "Ad Astra" — i.e., "to the stars"). That "yarn" appeared in the same July 1939 issue as A. E. van Vogt's first story ("Black Destroyer," almost certainly a partial inspiration for the film Alien) and only a month before Robert A. Heinlein's first story, "Lifeline." thus began the Golden Age of Science Fiction, which would last until roughly 1950.

Asimov developed quickly as a writer. He sold "Robbie," his first robot story, to Super Science Stories in 1940 (where its title was changed to "Strange Playfellow"), and his later ones to Astounding. Asimov always claimed it was John. W. Campbell, Jr., that magazine's legendary editor, who devised the central "Three Laws of Robotics" during a conversation at the end of 1940:

1. A robot may not injure a human being or, through inaction, allow a human being to come to harm.
2. A robot must obey the orders given it by human beings except where such orders would conflict with the First Law.
3. A robot must protect its own existence as long as such protection does not conflict with the First or Second Law.

By 1941, Asimov was ready for what would prove his annus mirabilis. On March 17, when this still very young writer was visiting the Astounding offices, Campbell unexpectedly quoted a passage from Emerson: "If the stars should appear one night in a thousand years, how would men believe and adore; and preserve for many generations the remembrance of the city of God . . ." What, the magazine editor wondered, would happen to people who suddenly saw stars for the first time? Asimov said he didn't know. Campbell answered: "I think they would go mad. I want you to write a story about that."

According to the first volume of his autobiography, In Memory Yet Green, Asimov began the story on March 18, 1941 and finished it on April 8. "Nightfall," as he called it, was then published as the cover story for the September issue of Astounding — along with the conclusion of Robert Heinlein's short novel Methuselah's Children and in the company of Alfred Bester's now classic "Adam and No Eve." Since that day, "Nightfall" has been judged, over and over again, to be the greatest science-fiction story ever written. Happily neither Heinlein nor Bester would ever complain about this, since the former quickly established himself as the best science-fiction writer of all time and the latter's 1956 novel, The Stars My Destination, is widely and rightly, viewed as the best single SF novel ever written.

Having formulated the Laws of Robotics and then written "Nightfall," one might assume that young Asimov would devote the rest of his time to his studies. Hardly. That fall Astounding also brought out the first two Foundation stories. Years later, Asimov recalled the genesis of the series:

On August 1, 1941, I took the subway to Campbell's office after class was over. On the way down I racked my brain for a story idea. Failing, I tried a device I sometimes used. I opened a book at random and then tried free association, beginning with whatever I first saw.

The book I had with me was a collection of Gilbert and Sullivan plays. I opened it to
Iolanthe — to the picture of the Fairy Queen throwing herself at the feet of Private Willis, the sentry. Thinking of sentries, I thought of soldiers, of military empires, of the Roman Empire — of the Galactic Empire — aha! . . ."

Why should I not write of the fall of the Galactic Empire and the return of feudalism, written from the viewpoint of someone in the secure days of the Second Galactic Empire? I thought I knew how to do it for I had read Edward Gibbon's
Decline and Fall of the Roman Empire from first page to last at least twice, and I had only to make use of that.

I was bubbling over by the time I got to Campbell's, and my enthusiasm was catching. It was perhaps too catching for Campbell blazed up as I had never seen him do.

"That's too large a theme for a short story," he said.

"I was thinking of a novelette," I said, quickly, adjusting my thoughts.

"Or a novelette. It will have to be an open-ended series of short stories."

"What?" I said, weakly.

"Short stories, novelettes, serials, all fitting into a particular future history, involving the fall of the First Galactic Empire, the period of feudalism that follows and the rise of the Second Galactic Empire.

"What?" I said, even more weakly.

"Yes, I want you to write an outline for the future history. Go home and write an outline."

There Campbell had made a mistake. Robert Heinlein was writing what he called the "Future History Series." He was writing various stories that fitted into one niche or another of the series, and he wasn't writing them in order. Therefore he had prepared a Future History outline that was very detailed and complicated, so that he would keep everything straight. Now Campbell wanted me to do the same.

Heinlein, however, was Heinlein —and Asimov was not Heinlein.

I went home dutifully, and began preparing an outline that got longer and longer and stupider and stupider until I finally tore it up. It was quite plain that I couldn't work with an outline. (To this day I cannot — for any of my stories, articles, or books, whether fiction or nonfiction.)

On August 11, therefore, I started the story I had originally intended to write (with modifications that resulted from my discussions with Campbell), and the heck with possible future stories. I'd worry about them when the time came — and
if the time came.

Since the First Galactic Empire was breaking down (in my story), certain scientists had set up a Foundation on a world at the rim of the Galaxy, purportedly to prepare a vast encyclopedia of human knowledge, but actually to cut down the period of feudalism and hasten the rise of the Second Empire. I called the story — drum roll, please — "Foundation."

Later in his autobiography, Asimov notes that he submitted "Foundation" on September 8 and on September 17 received a check for $126. From the on, Foundation stories appeared periodically, if irregularly, until the end of the 1940s. When they were collected, Asimov added one more to form a new introduction, and also changed most of the titles. --Ce texte fait référence à l'édition Relié .

Présentation de l'éditeur

It is the story of the Galactic Empire, crumbling after twelve thousand years of rule. And it is the particular story of psycho-historian Hari Seldon, the only man who can see the horrors the future has in store: a dark age of ignorance, barbarism and violence that will last for thirty thousand years. Gathering together a band of courageous men and women, Seldon leads them to a hidden location at the edge of the galaxy where he hopes they can preserve human knowledge and wisdom against all who would destroy them.

Asimov went on to add numerous sequels and prequels to the trilogy, building up what has become known as the Foundation series, but it is the original three books, first published in the Forties and Fifties, which remain the most powerful, imaginative and breathtaking.

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322 internautes sur 361 ont trouvé ce commentaire utile 
Epic 20 juin 2008
Par Thomas Wikman - Publié sur
Format: Relié
The Foundation trilogy (three first books) and the Foundation series (all seven) are often regarded as the greatest set of Science Fiction literature ever produced. The Foundation series won the one-time Hugo Award for "Best All-Time Series" in 1966. Isaac Asimov was among the world's best authors, an accomplished scientist, and he was also a genius with an IQ above 170, and it shows in the intelligently concocted but complex plots and narrative. There are already 331 reviews for this Science Fiction novel, however, I still believe I have something unqiue to contribute which is stated in my last paragraph.

This book and the rest in the series take place far in the future (allegedly 50,000 years) at a time when people live throughout the Galaxy. A mathematician Hari Seldon has developed a new branch of mathematics known as psychohistory. Using the law of mass action, it can roughly predict the future on a large scale. Hari Seldon predicts the demise of the Galactic Empire and creates a plan to save the knowledge of the human race in a huge encyclopedia and also to shorten the barbaric period expected to follow the demise from 30,000 years to 1,000 years. A select people are chosen to write the Encyclopedia and to unknowingly carry out the plan to re-create the Galactic Empire. What unfolds in this book and in the books that follow is the future history of the demise and re-emergence of a Galactic Empire, written as a series of adventures, in a similar fashion to the Star Wars series.

Even though this is arguably the greatest set of Science Fiction novels ever written, I do not recommend it to those who are only mildly interested in Science Fiction. Character development is not the focus of these novels and the large amount of technical/scientific details, schemes and plots can become both confusing and heavy for the unitiated Science Fiction reader. If you read this one you will feel the need to read the others which may take a long time. If you are new to Science Fiction start with something lighter and when you are hooked you can continue with this series. Also, in my opinion the second and third books were better than the first.
29 internautes sur 29 ont trouvé ce commentaire utile 
The Foundation Series is the biz 19 novembre 2002
Par DavidLG1971 - Publié sur
Format: Poche
Asimov had an active and brilliant imagination - truly, a scientist writing fiction. This series is science fiction on a grand scale. When you keep in mind that this story originated in 1951, it is easy to see how much Star Trek, Star Wars and yes even Heinlein's & Clarke's later works borrowed from these ideas.

Anyway, Asimov at his best was a creator; he had amazing ideas of the universe, how it worked, and how to structure stories that manipulated the readers expectations.

The Foundation series is like a spider web that continues to become more intricate and complex with each chapter. The intricacy of the plotting is amazing, although honestly it's not self-evident in the first few stories of the first novel, given that they were published independantly, as serialized short stories told one at a time.

Only with the second book did this change.

The basic premise: The rise and fall of the roman empire, told on a galactic scale from a historian living in the 2nd empire a thousand years later.

The setup: One man creates a science, called Psychohistory, a fictional precursor to Chaos Math (a real statistical science today). This psychohistorian, Hari Seldon, predicted that the vast Galactic Empire is about to crumble, dropping humanity back into the dark ages. This dark ages was due to last 30,000 years (I believe), and while it is too late to prevent this horrible breakdown of society, Seldon believes he can use this new math to shorten the time period between empires.

To do so, he establishes two "Foundations" made up of scientists, one at the outer edge of the galaxy, and the other at "Star's End". In advance, Seldon plots out the future (using the math of psychohistory), and sets in motion a series of "domino" events. The Foundation faces crises and problems, forcing change in both strategy and focus for the next several hundred years. But Asmimov continues to modulate the story throughout each of the books, and building upon the previously-understood structure.

In fact, once you think you've read enough permutations on the same idea, Asimov starts tearing the structure down, introducing variables into the story that further complicate matters.

A caveat about the most often-touted complaint about Asimov: His writing style (or lack thereof):

In 1951, when these stories were first published, Asimov was not a great writer - as in, a writer of literature. His descriptions, characterizations and storytelling technique all left a lot to be desired. His technique got better with the passing years, such that any of his fiction written after 1970 or so reads easily.

But that is not the point, here. Asimov didn't create great characters (save for his robot stories) - he came up with mind-bending ideas and subsequent permutations.

The litmus test of whether or not Asimov is for you: Read 'The Last Question'. It's a 12-page short story. Not brilliantly written, but a fantastic story with amazing ideas contained inside. When you get to the last sentence of it, you will probably be blown away. If you are, Foundation is for you.

Read them - and commit to all of them, because they get better as they go, generally speaking. The first three were written in 1950 - 53. But the fans demanded that he someday continue the story, so he continued with a fourth book in 1983, and the last in 1986. Some complain that the last book is overlong - and I agree - but the last sentence of the last book is...amazing.

The books:

Foundation and Empire
Second Foundation (contains the best story - Search By The Mule)
Foundation's Edge (best overall book)
Foundation and Earth

Afterward, Asimov went back and wrote prequel novels (Prelude to Foundation, Foundation's End) taking place prior to and concurrently with events from the first book. He later admitted that he wrote prequels because the main story had gotten so complicated, he felt he'd taken the story as far as it could go.

The prequels aren't too bad, but they are completely non-essential.
123 internautes sur 139 ont trouvé ce commentaire utile 
The Foundation trilogy is essential 6 octobre 2002
Par Amazon Customer - Publié sur
Format: Poche
The trilogy is essential, but since Asimov also capitalized on his own genius by writing what seems to be hundreds of lesser Foundation stories, it can all get very confusing and a bit draining. This is the second book in the original trilogy, so it is from a science fiction point of view essential reading. The trilogy itself comes up with two highly memorable characters, Hari Seldon, the psycho-historian, who uses Mathematics to predict the future and establish a "Foundation" that will limit the dark ages after the fall of the "Empire" to a single millenium (as opposed to ten.) He reappears as a hologram at certain points in the story with more or less accurate takes on what is happening in "History" at that point.
The other very memorable character is the Mule. He represents the variable that makes predicting "History" mathematically a tricky business at least, not to mention impossible. He is a nasty totalitarian character who strangely in Asimov's hands manages to elicit some sympathy. Asimov is playing with the idea of predicting human behavior scientifically (or controlling it scientifically,) but this character is also a humanistic meditation on how masses of people get overwhelmed by evil social forces like fascism and soviet communism. You can see that Asimov lived through the era of Hitler, Mussolini, Franco and Stalin and that these cult of personality tyrants and the submission of masses of people to their destructive and sadistic wills profoundly affected his view of human nature. Foundation and Empire seems to be an attempt to come to terms with that experience, and so has something to say about the specifics of twentieth century history, as well as about historical philosophy.
180 internautes sur 210 ont trouvé ce commentaire utile 
"Violence is the last refuge of the incompetent." 13 septembre 2003
Par John S. Ryan - Publié sur
Format: Poche
[The quotation is from Salvor Hardin, Mayor of Terminus.]
Let's say it's around 1940 or so; you're studying chemistry in grad school but your true love is history; you've read Edward Gibbon's _The Decline and Fall of the Roman Empire_, but writing a historical novel set in the _past_ would require just too much research; you get the bright idea of writing a historical tale set in the _future_, about the decline and fall of a _Galactic_ Empire, and you suggest as much to John W. Campbell, Jr.
Campbell's response: he gets excited and suggests that you introduce some pseudoscientific mumbo-jumbo about "psychohistory". Do you:
(a) drop the idea and write something else?
(b) write the story just as Campbell describes it?
(c) use a little imagination, make Campbell's idea a bit more intellectually presentable, and crank out, not just a single story, but a Hugo-award-winning series?
If you picked (c), congratulations; you're Isaac Asimov.
The Hugo didn't come until 1965, when the Foundation series won for best all-time series (defeating even Tolkien's _Lord of the Rings_ books). By then Asimov had long ago tired of the series; you can tell by the first part of the third book. (But the _second_ part of the third book is probably the best part of the original three volumes.)
And heck, even in order to keep it going _that_ long, he had to introduce a radical departure from the Seldon Plan, in which the Mule initiates not just another Seldon Crisis but a new element altogether, one that wasn't accounted for in the Plan. (And in even later installments, it becomes pretty clear that Asimov isn't exactly thrilled by either the Plan or the Empire it's supposed to bring about.)
But in the first volume, all of it is still fresh. Here we meet Hari Seldon for the first time, get slightly acquainted with his mathematical science of psychohistory, and learn what he's done to keep the decline of the Galactic Empire from leading humanity into 30,000 years of barbarism. He can't avert the decline, but he's got a way to reduce the period of barbarism to a mere millennium.
He's set up two Foundations at opposite ends of the galaxy. And he's carefully set the ball rolling so that every so often there will be some sort of sociopolitical crisis, to which there's only one possible resolution. All the Foundation has to do is wait until the crisis narrows everything down to just one option, and then figure out what the heck that option _is_ . . .
Well, I think you can see that the pattern leaves some room for the exercise of intelligence, but not a lot for individual initiative. No wonder Asimov let the Plan start going awry; the story might have lasted a thousand years, but the dramatic possibilities wouldn't.
Anyway, it's a great, great series. This is where it begins in realtime, although the later novel _Prelude to Foundation_ is "first" according to the chronology of the Foundation universe. (And the Empire novels -- _Pebble in the Sky_, _The Stars, Like Dust_, and _The Currents of Space_ -- take place even earlier. So do most of the robot stories.)
If you haven't read it yet and you think you might be an SF fan, you'll want to get around to it pretty soon. Start here, and enjoy.
63 internautes sur 72 ont trouvé ce commentaire utile 
Kindle edition is a watered down disaster 22 novembre 2013
Par J. Callen - Publié sur
Format: Format Kindle Achat vérifié
This review is specifically of the Kindle edition, published by Ballantine/Bantam.

The Foundation Trilogy is a wonderful piece of work, but the Kindle edition butchers it! Someone has decided to water down Asimov's prose, eliminating some of the more enjoyable passages of the book. Here are some examples, found by comparison with an old Bantam Doubleday hardcover edition.

Several pages into chapter 3, Salvor Hardin is arguing with the Encyclopedists about the decline of the Empire.

Original: "If you ask me,", he cried, "THE GALAXY IS GOING TO POT!"

Kindle: "If you ask me,", he cried, "THE GALACTIC EMPIRE IS DYING!"

In chapter 5, Hardin is again meeting with the Encyclopedists and discussing the threat received from Anacreon.

Original: The message from Anacreon ... boils down easily and straightforwardly to the unqualified statement ... "You give us what we want in a week, or we beat the hell out of you and take it anyway."

Kindle: The message from Anacreon ... boils down easily and straightforwardly to the unqualified statement ... "You give us what we want in a week, or we take it by force."

I'm going to be asking for a refund.
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