Abstract
Because of his short, prolific life, Vygotsky has been likened to Mozart (Das & Gindis, 1995); but I think he must be our Shakespeare, for how else could Korsakova & Balashova have evoked the mise-en-scène of an entire lifetime of cognitive-affective work using nothing but Vygotsky's two-word stage direction "mediating activity"? And how, other than through raw force of language wedded to fundamental verities, could Vygotsky the writer have inspired and informed so many of the world's productions regarding mental development? In these comments I hope to facilitate understanding of one such production, if possible, for readers who are not adherents to Vygotsky. Aficionados will need no assistance.

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