Spiritual resistance is by now a common concept in secondary writing on [the Holocaust], defining music not only as a channel through which Nazism’s victims derived emotional comfort and support, but also as a life affirming survival mechanism through which they asserted solidarity in the face of persecution, the will to live, and the power of the human spirit. (Shirli Gilbert, Music in the Holocaust: Confronting Life in the Nazi Camps and Ghettos [Oxford: Oxford University Press, 2005], 2)
What does Gilbert mean by ‘spiritual resistance’ in this context? Outline some of the ways in which this notion, as used in Holocaust writing, can be critiqued in relation to music.
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