The richness of phenomenological studies provides an oppprtunity for entrepreneurial researchers to start developing high content theories. The concept of epoche is the basis of phenomenological research. Epoche is increasingly advanced in qualitative research but it seems that it is frequently used as a surface or vague method. Epoche as a method is usually used in qualitative research to reduce the potentially harmful effects of defaults that may lead to invalid research process. The most important issue that we should be paid attention to it is how to design phenomenological research. The purpose of this article is to focus on epoche concept, its nature and its performance in qualitative research. To reach this objective, first, we have reviewed epoche concept and then we studied the style of epoche strategy in terms of its design and operation in two separate sections in details. Finally, as the researcher should design the style of epoche and no specified standard is available in this regard, we present a case study using epoche in designing phenomenological research for informing interested persons. It is expected the readers will understand the epoche concept, the method of its use in entrepreneurship phenomenological research and also the practical style of its implementation.

AbstractProblem statement: Among the components of the phenomenological approach, the epochē is the element that carries the methodological aspect of this approach more than other components. On the other hand, a movie has full of form elements that can affect the audience’s perception, whether or not they are used or how each of these elements is used. This research tries to deal with the phenomenological encounter with the object through the medium of cinema and a movie.Research The research purpose is to examine the possibility of the phenomenological reduction of external objects and aesthetic objects through cinema and a movie.Research The article with an analytical method among the components of phenomenology has highlighted its only methodological element, epochē. Then, with a descriptive-analytical method, it measures the ratio of all the formal elements in a movie with the epochē. The article shows that there is a possibility of phenomenological reduction of the external objects through a movie and this possibility is realized in the first way in the aesthetic objects.The article introduces “Epochēe” as the only tool of phenomenological reduction. It discusses the possibility of phenomenology through the movie, concludes that such a thing is available through the formal elements of the movie, and then looks into this possibility. First, it highlights the formal structural elements and explains the appropriateness of the phenomenological approach in selecting each structural element and using them. Next, it points to the non-structural formal elements separately and examines how to implement these formal elements to epochē objects as much as possible. The article shows that although it is possible to epochē an external object through a movie, this epochē is considered a second-hand method in epistemology. In contrast, in the field of aesthetics and its related objects, they are regarded as a first-hand encounter.

The purpose of this article is to representthe obvious understanding of the challenging concept of a science of the life-world in The Crisis of European Sciences and Transcendental Phenomenology and meaning of this project by Husserl. Hereof, first is very important to perpend distinction and yet relationship between the objective science and the life-world then it seems inevitable to reflect on steps to this transcendental science including epochs of the objective science, epochs ofa science of the life-world and transcendental reduction. Here, the main focus lays onthe possibility of a science of the life-world project with tow attitude a reflective and a non-reflective. In the first attitude be accomplished the universal structures of the life-world in format of anontologyofthelife-world and in the second attitude be discovered on Husserl's transcendental turn on the life-world and its manner-of-givenness the transcendental solidarity between the world and the world consciousness.

In the lecture History of the Concept of Time: Prolegomena Heidegger levels an immanent phenomenological criticism at Husserl’s transcendental phenomenology. In the lecture, Heidegger accuses Husserl that he neglects to raise two fundamental questions for the phenomenology: the question concerning the specific manner of being of the intentional acts in particular and the manner of being as such in general. By his criticism, Heidegger returns to the starting point of Husserl‘s phenomenology, i.e. the shift from natural attitude to transcendental attitude, and thereby reaching his own understanding of the matter of phenomenology. As is well known, Heidegger substitutes the Dasein for the transcendental consciousness and refuses the Husserl’s epoché and his transcendental reduction. In the following paper, on the contrary, we attempt to interpret Heidegger’s criticism in another way, which is that Heidegger adopts not only the transcendental reduction but also the absolute transcendental subjectivity. To put it more precisely, Heidegger radicalizes the absoluteness of the absolute transcendental subjectivity in Husserl’s Philosophy so much that he will be able to eliminate the Husserl’s natural attitude as a non-phenomenological and dogmatic starting point for the phenomenology. Accordingly, we claim that Heidegger’s Dasein is substituted for the absoluteness of subjectivity and the finitude of human existence simultaneously.

The current studies have revealed that there are some similarities between the philosophical foundations of Sohrab Sepehri's poems and some phenomenological notions. The essence of Sepehri's message as well as that of phenomenologists is that human being should discover himself or herself through his or her pure cognitive nature, and not from science or books. Following a descriptive and content analysis approach, in this study, we have dealt with the phenomenological thoughts on the creation of some innovative image in Sepehri's poems. It is assumed that some of Sepehri's images cannot be revealed just by literary analysis, and a philosophical perspective is required too. To create images like 'a mere bird' and 'the frank sunlight', Sepehri has resorted to some notions in phenomenology. Edmund Husserl has opened a novel area of thought called 'epoche'. It refers to a stage of cognition in which the mere self or the thoughtful self and observer suspends all his or her judgements on the existence of the world. When Sepehri pens; 'the mere bird sings.', his goal is not just creating a foregrounded and innovative image, but indeed he attempts to give weight to a concept like 'epoche' by his own philosophical impressions.

Sohrab Sepehri is one of the most celebrated figures of the Iranian contemporary poets. His distinct language and thought has attracted the attention of a great number of readers of poems. In this study, we have analyzed a type of his images through Edmund Husserl's phenomenology.
The current studies indicate that there are some similarities as well as matches between the philosophical foundations of Sohrab Sepehri's poems and some phenomenological notions. In effect, this study does not aim to give a thorough picture of phenomenological aspects of Sepehri's poetry. However, in some cases a brief explanation on similarities is provided. An invitation to intuitive understanding and direct, immediate wisdom about the surrounding world and the unity of subject and object, and dealing with the essence of things constitute the main teachings of Sepehri's poetry, teachings which go hand by hand with phenomenological notions. The gist of Sepehri's poetry is that human being must acquire an understanding directly from nature, and not from science or books. Following a descriptive and content analysis approach, in this study, we have dealt with the phenomenological thoughts on the creation of some innovative image in Sepehri's poems. It is assumed that there are some of Sepehri's images and rhetorical techniques are not revealed just by literary analysis, and some domains such as philosophy are also required too. To create images like 'a mere bird', 'the frank sunlight', 'the mere forehead', 'the mere instant' and 'the white event', Sepehry has resorted to some notions in Husserl's phenomenology. In effect, in creating such images, Sepehri has paid attention to the idea of 'epoche', a notion in Husserl's phenomenology. 'Epoche' is a stage of cognition where 'the mere I' or 'the thoughtful and observing I' suspends all judgements on the existence of the physical world. By saying 'The mere bird sings', Sepehri is not merely providing an innovative and foregrounded image, but also relies on philosophical notions in order to refer to a concept like 'epoche'. 'Epoche' suspends any philosophical judgment on the real world and pushes presuppositions related to a specific area to the periphery. In an expression like 'mere bird', Sepehri comprehends bird without any sort of characteristic and feature. The idea of 'seeing in a different way' maintains that the observer should leave all presuppositions and comprehends the world directly. Sepehri connects to the essence of bird, forgetting any distinctive idea about the bird. Relying on an idea similar to 'epoche' he attempts to draw the attention of the reader to the very bird, without any judgment about the bird. In the poem 'There was no lake, there was a white event and nothing else', the rest would be interpreted by the reader depending on his own life-world. Sepehri has such approach towards the world and he does not let presuppositions make us see vulture and clover flower as ugly and debased things. He recommends his readers to suspend their presuppositions on the real world. As such, sometimes philosophical perspectives provide novel images to deeply comprehend literary texts.
It is not clear whether Sepehri had been familiar with ideas of phenomenologists such as Husserl. Maybe he was exposed to such ideas while studying in Faculty of Fine Arts of Tehran, or during his trips to Europe and U.S. It would also be possible that Sepehri had acquired such ideas through Krishnamurti's thoughts. Likewise, a personal conduct is not impossible too.
The distinct wording of Sepehri has made some of his poems ambiguous in such a way that critics had to evade some images by just general remarks. Here, it is argued that the attempts made by all critics to interpret linguistic and aesthetic aspects of such images are not fully successful as Sepehri's images are the result of his philosophical insight. His motivation to create such images was philosophical rather than literary. Most of the excellence of these images lies in his philosophical framework and his novel look to the universe. Therefore, familiarity with phenomenological thoughts could help readers to understand Sepehri's abstract images. Images like 'mere bird', 'absolute forehead', 'explicit sun', 'explicit Vodka', 'pure spot', 'pure things', 'mere lands', 'clarity of pigeons', 'no-discount decisive presence', and 'persistent mournful color' are waiting for philosophical reading rather literary interpretation. It is Sepehri's philosophical thoughts and intuitive understanding of universe and life that have made him create such images, not just a tendency to bring innovation to his poems, a tendency popular among other poets.
It seems that 'look' and 'wonder' in Sepehri's poetry are poetic counterparts for phenomenological suspension, and even if they do not match together completely, these two conditions follow a phenomenological suspension. A 'look' for this poet equals 'we should wash our eyes and see in some other way' and this would be impossible unless a phenomenological suspension is occurred whereby all presuppositions are suspended. Sepehri has followed Husserl's recommendation let alone he has been familiar with the philosopher's theory or not, as firstly always his consciousness involved things in the real world; Secondly, Sepehri has always escaped the conceptual thinking. Shamisa's and Shafiei Kadkani's explanation of Sepehri's poems involve conceptual thinking. Thirdly, in Sepehri's poem, world acquires authenticity as it appears, and this world is distinct from the world made in Sepehri's mind (i.e. idealistic world), and the independent world (i.e. realistic world) which is reflected in conceptual thinking.
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Images are able to show completely different things fromthemselves and have fascinated philosophers since Plato.Among the philosophers who have dealt with this field arephenomenologists, who approach images from differentangles. Some philosophers who study phenomenologicalaesthetics consider art as the perception of the visible.In this article, we try to answer the question, what is theimportance of art and aesthetics for philosophy, and howcan phenomenological concepts be used to understandabstraction in painting? Does phenomenology add anythingnew to our understanding of painting? Influenced by thefounder of phenomenology, Edmund Husserl, we draw onspecific concepts - horizon, phenomenological reduction,life-world, epoch - and show what the connection is betweenabstraction, the world, and phenomenological reduction.Abstraction shows the relationship between the world andthe horizon. Pictorial reduction reveals how the horizon ofthe world and surprises the viewer. Or how past horizonsmake up for our present experience. Relying on Husserlianframework and descriptive-analytical method, we must beprepared to look at artwork without any presuppositions, toset aside habitual expectations, and to react directly to thedynamic relationships of the visible elements of color andform. Thus, this reading works by reducing, eliminating,and concentrating, and it requires an active response, nota passive acceptance. In this reading, the work of art is anobject to motivate thought, but not in the way that inanimatenature, landscape, portrait, or narrative might be. In fact, ourjudgment of the effect depends on how the effect penetratesour consciousness and affects our feelings and thoughts.Thus, the artist, like a phenomenologist, moves away fromthe natural and everyday world and looks deeper into theworld, reviving the forgotten biosphere and filling the gapbetween consciousness and the world. In other words, theyboth rebuild the world and both return to the world. It thusrefers to the abstract concept of the return to the world and theinternal relations of the world that are not known. With thisreading we have shown that abstraction is not a separationfrom the world or nature, but a different experience of it.In fact, abstraction is a useful tool for expressing a varietyof experiences and ideas. In other words, abstraction maymean something positive, a “return” to a deeply globalrelationship, though not explicitly recognized. Also,considering the distinction between the phenomenologicalepoch and the aesthetic epoch, we conclude that the wholepainting is abstract and non-figurative. Finally, and surely arthas long been the subject of phenomenological philosophicalstudies, which in turn gives way to the expression of humanlife. However, the tradition of phenomenological aestheticsis still in its infancy and its identity is very fluid, and thepossibility of phenomenological aesthetics can still be posedas a living question.

The world is pace with the processes of globalization. Iran is not apart from this globalizing process and has been involved in many trends, including the phenomenon of pyramid companies (network marketing). This issues a new style of modern business, with its new work in the late of 70s Hijri (or in the early 80s) with companies such as Goldquest and Goldmine in Iran. Their activities created very crucial negative effects to the public, the community and economic body of the country and made a constitutional crisis in the country’s atmosphere. Finally, the discretion of the legal authorities banned their activities in the country. The business, however, is now a few years with a new light in the face by removing the same obstacles in the country with a legal permit. While the country’s current state is worse than the previous decade (80s) in terms of economic difficulties, the sharp recession, the problems of country’s active population and thousands of fundamental problems whose main origins go back to the economy. On the other hand, it is expected that this kind of trade problems and barriers in the past and may be solved to a great extent, but we are witnessing difficulties and obstacles. The high rate of the young population of the country has been mentioned in recent years by the social sciences thinkers. According to the demographic theory of open window of population, Iran is a highly sensitive site in the region as well as inside the country due to its young population, that, if taken in the right direction, it would promote the country and otherwise damage. This high percentages, despite university education, face a demographic inflation of youth by failing to attract the labor market. Based on different studies, they report a high percentage of frustration, depression, and so on. On the other hand, in recent years, we see major changes in the values and attitudes of Iranian youth for different reasons, including the growth and development of communication and technologies. Thus, the characteristics of social context in Iran have different forms of development for boosting networks. The prevalence of globalization and its ideology, the sudden rise of population and unemployment, social networks, and strong local regions (derived from pre modern times) have all contributed to the prevalence of pyramid-based enterprises (network marketing), which have the slogan of acquiring huge fortunes in a short period of time: This study investigates how profit maximization strategies are implemented in pyramid companies and what the consequences of these strategies are.

The paradigm used in this study is critical ethnography and research is done using qualitative methodology. The critical ethnography has been chosen by the 5-scale approach of Carspecken. Sampling is based on purposive and chain sampling. In this direction, after participatory hidden observation and semi structured interviews with the active members in the companies, 16 cancelled individuals were selected from 3 network marketing companies to do deep interviews to achieve theoretical saturation.

The result indicate that pyramid companies are able to attract a large number of people in Iran through the use of credit over a very long period of time. In this way, compliant and reagent credits are key factors that these companies use to obtain their own purposes.Pyramid companies are trying to change the style of business and create a fundamental shift in the field. But, they try to achieve their goals by exploiting the traditional market failures and variables involved in the traditional world.The actors involved in these enterprises are usually from poor levels of the society who have little economic and social power. In particular, class categories include the middle and lower classes which are relatively marginalized in the society and are constantly suppressed by various social, political, and economic forces.In such circumstances, these people usually have a neutral agency. Iran as a polarized society has suffered extensive social damage due to its policy of adjustment and corruption resulting from this issue (Piran, 2004: 24) which has caused to attract a particular context of modern commerce.People on the margins are also influenced by the positive advertisements of this emerging systems, and tend to identify their own identity as a networking one and rebuilt their existing ruined and suppressed identity.It is at this point that agents’ state of mind at modern tribes change (confronting with reality). They have to limit many areas of their lives to gain profits, therefore, separation of family, lack of intimacy with wife, borrowing money and etc. are damages that are imposed on them. This process is moving forward that in the face of structure, the functionality of the actors is weak and defeated, and eventually leads to the withdrawal of the membership from the system.

In the history of philosophy, the discussion of ontology and how existence is revealed to humans has been one of the most important and fundamental philosophical topics, but in the new period, it is forgotten and the main focus of philosophy turns from ontology to epistemology. The basic question of this article is what is Husserl’s concept of existence, who is the founder of phenomenology in the contemporary period which is the period of neglect of existence? Is it possible to find a trace of ontology and existence in the discussions of phenomenology, whose slogan is "towards the things themselves" and which deals with the constitution of the world in consciousness? This article achieves these findings with the analytical-descriptive method, that no direct discussion of existence and ontology can be found in Husserl's works. However, in his analyses, for example, from two natural and phenomenological attitudes, or in the discussions of intentional objects and the discussion of existence in a certain context-belief, as well as in the epoche, we can understand his implicit perception of existence. The result of the important discussion of epoche is the affirmation of pure Ego and absolute consciousness, and this consciousness is considered as absolute existence. For Husserl, existence acquires meaning through the channel of consciousness. Consciousness does not need anything to exist. Therefore, only consciousness can reveal the existence of the world to us. Finally, the world exists as far as it enters the realm of consciousnessworld to us. Finally, the world exists as far as it enters the realm of consciousness.

With the motto “Less Is More”, minimalism is a view and style whose main characteristic is to express the essence of phenomena while being concise. This view, which is made possible by the motto “Zu Den Sachen Selbst (to the Things Themselves)” through epoché and phenomenological reduction (bracketing) is in harmony with Edmund Husserl's philosophy of “Essences of Things” in phenomenology; perhaps most representatives of this philosophy in the arts can be found in the essence of graphic design. Advertising design works as one of the most important sub-branches of graphic design can be a suitable ground to examine this view. Accordingly, some questions can be raised: what is the relationship between the phenomenological aspects of minimalism and the design and understanding of works in graphic design? And how can brevity in minimal expressions connect with the method of “Wesenseinsicht (Seeing Essences)” in Husserl's phenomenology? The present article is based on the key concepts in Husserl's phenomenological thought, following the way they appear and emerge in creating minimal works in graphic design. In this regard, first, the main of Husserl's phenomenological concepts, such as epoché, phenomenological reduction, and seeing essences are briefly discussed, and then their manifestations in creating, experiencing images, and receiving graphic design works were explained and described. Examples of graphic works were selected through an intensity sampling, as a strategy of purposeful sampling method in the current qualitative research based on the inclusion criteria and presented via a descriptive-analytical method. The results indicated that minimal expressions in graphic design can be considered as phenomenological expressions that make design and accompanies the audience up to the image experience through “seeing essences” and “essential structures” of phenomena, especially concerning the component of essential necessity.

Phenomenology is one of the most important methods of contemporary philosophical thinking, which was founded by Edmund Husserl and quickly became a method for research in various fields of human sciences, including literary criticism. By suspending the natural approach to the world and focusing on the interpretation of phenomena as they appear on the subject, the phenomenologist learns and explains the objects.Since artists, especially poets, actually describe their lived world as it has appeared to them, the components of the phenomenological method such as "Intentionality", "Epoche", the Tim consciousness, "Ego" and its lived world and " He traced "time consciousness" in their works. Qaisar Aminpour is one of the poets with a contemporary style. In this research, we have analyzed and analyzed selected poems of his, and extracted the phenomenological components that he used to describe the world he lived in.The results of the research show that Aminpour mentioned "Epoche", "Intentionality" and "Ego" in his poems. In some cases, Kaiser discussed the "categorial intentionality" of phenomena, and as we have presented in an example, Husserl's "Time consciousness" can be a guide in the analysis of some of his poems.