UEBER DIE UNTERSCHIEDSEMPFINDLICHKEIT FUER KLEINE ZEITGROESSEN. Eine vorläufige Mitteilung. By _F. Schumann_. LITTERATURBERICHT. Professor A. Meinong discusses Ch. v. Ehrenfels’s article “Ueber Gestaltqualitäten”[28] adding the results of his own investigations suggested to him by this essay. Ehrenfels starts from Professor Mach’s consideration of figure and melody (see Mach’s _Beiträge zur Analyse der Empfindungen_) and proposes the question, What are figure and melody in themselves? Are they merely a combination of elements or are they something in contradistinction to their elements, something entirely new? Melodies and figures, says Ehrenfels, can be so transposed that not any one of their original elements will remain. Thus the similarity of figures in space as well as of tones is something different from the similarity of their elements; they must be something different than their mere sum. This is “the figure-quality” or _Gestaltsqualität_, and Ehrenfels distinguishes between two kinds, (1) those of time (2) those of space, which he calls (1) _Tongestalten_ and (2) _Raumgestalten_. In addition to these are discussed the figure-qualities of sensations and of inner apperception. Ehrenfels proposes the psychological question whether these figure-qualities are immediately given together with their foundations or whether they must be considered as the product of a special activity, and he decides in favor of the former possibility. Professor Meinong whose work has been in similar lines, refers to his article “Phantasievorstellung und Phantasie”[29] and criticises the term “figure-quality,” proposing in its stead the words _fundierend_ and _fundiert_, using the German term _Fundament_ as a correlative expression of “relation.” There is no relation without complexity and psychological experience has actually to deal with complex facts only. Melody and figure are names for the totality of the foundations including their “founded” contents.