I adopt a dialogic approach to refute Paul Oliver’s claim that there is no challenge to the authority of the black Church or religion in the segregated ‘race records’ of the first half of the 20th century in the United States. I dismiss the claims of some black theologians that the presence of biblical imagery in the blues means that performers were essentially religious. I show that the dialogue between secular song and religious sermons on record involved mutual parody, satire, and polemic in a common speech genre. Attacks on the Church, its members, clergy, and doctrines were common. Recorded sermons spoke back in defense. Mikhail Bakhtin's concepts offer purchase on the relations between secular and religious recordings in an ongoing struggle for hegemony in black cultural production.

中文翻译：

---

“盲人的视力”：“魔鬼的音乐”中的世俗与宗教对话

我采用对话的方式反驳保罗·奥利弗的说法，即在美国 20 世纪上半叶的种族隔离“种族记录”中，黑人教会或宗教的权威没有受到挑战。我驳斥了一些黑人神学家的说法，即蓝调中存在圣经意象意味着表演者本质上是虔诚的。我表明记录在案的世俗歌曲和宗教布道之间的对话涉及共同语言类型中的相互模仿、讽刺和争论。对教会、其成员、神职人员和教义的攻击很常见。录制的讲道进行了辩护。米哈伊尔·巴赫金 (Mikhail Bakhtin) 的概念为黑人文化生产中持续争夺霸权的世俗和宗教唱片之间的关系提供了购买依据。