The rise of literary speeches today is a new change and trend in the development of literature in the context of new media. These speeches are presented in audio-visual form through new media platforms for literary dissemination and ideological exchange, which can reignite people's literary enthusiasm and enable literary concepts and values to be more widely and deeply recognized. In fact, the current literary speech is not so much a "speech" about literature as it has become a new form of literature, with the opportunity to become an independent literary existence and the possibility of constantly moving from "literary periphery" to "speech literature". Literary speeches are not just about "literary peripherals". The content of literary speeches is more like an "extension" of a certain aspect of literary works, which can be supplemented and improved through real-time audio extension. Therefore, literary speeches are often considered a kind of "literary periphery". Generally speaking, literary speeches involve several aspects: the concept of literature and text, the sharing of the background and process of literary creation, the intrinsic charm of literary classics, and the relationship between literature and reality, literature and history. These topics may seem 'peripheral', but they actually point to fundamental questions in the field of literature such as' what is literature ',' where does literature come from ', and' what is literature '. The common content of literary speeches is that the speaker expresses their views on the essence of the concept of "literature" and the significance of specific works from various perspectives. These two are often integrated. For example, in his speech titled "Four Idioms - My Understanding of 'True Literature'", writer Cao Wenxuan combines various works and vividly expresses his views on "literature" through the four idioms of "making something out of nothing", "mystifying", "sitting in a well to observe the sky", and "doing nothing". He said, "What is literature? Literature is a form of writing personal experiences." Through literary speeches filled with atmosphere, the audience can basically understand his viewpoint that literature is a "presentation of personal experiences in four ways. Of course, by listening to various speeches about literary concepts, people will gradually form their own understanding of literature. Literary speeches often involve the real-life experiences and historical dimensions of literature. Literature is a bridge that connects reality and history, and literary speeches make this bridge even smoother. Whether it involves fictional or non fictional works, speakers strive to provide genuine responses to real-life situations, and the narration of historical narratives also allows the audience to clear the fog and better understand the urgent issues that need to be addressed. In 1927, Mr. Lu Xun believed in his speech that the writing style of "treating articles as antiques" was not acceptable. That is to say, literature must be rooted in current life and must respond promptly to real-life problems. The lives of the widest range of ordinary people in this time and place are the source of meaning for literature. As a form of vocal literature, literary speeches are not only public, interactive, and intertextual with works, but more importantly, they attempt to reconstruct the immediate connection between literature and reality, enhancing the overall "sense of reality" of contemporary literature. Overall, literary speeches are good at driving emotional fluctuations in the audience, stimulating their perception and empathy towards literature, allowing them to experience literature up close and gain a deeper understanding of it. Although literary speeches are not traditionally considered "works", they focus on the fundamental and core issues of literature. Through rapid dissemination, they initiate a reconstruction of the seriousness and profundity of literature in the digital age, rather than just being optional and elusive "literary peripherals". Literary speeches reshape the roles of "author" and "reader" in terms of communication methods. Literary speeches are a form of emotional transmission and exchange of ideas through sound. Through effective dissemination through new media, they re-establish the relationship between literature and the general public, and also change the way literature is read. With the rise of new media, literary speeches by some writers and critics have gradually entered the public eye in recent years. Through live streaming, short videos, and other means, literary speeches often establish interactive relationships with "readers" more quickly than paper-based literary works, allowing serious and profound literary thinking and expression to be disseminated more widely and effectively. In the era of new media, literary speeches have brought the relationship between literature and the public closer, and public participation has gradually made listening to literary speeches a common form of audio "reading". At present, literary speeches are gradually bridging the gap between literary creation and reading in their unique form and mechanism, and to some extent changing the roles of creators and readers. Unlike traditional literary creation, literary speeches are presented in video or audio format, creating an instant interactive atmosphere with people from different places through the internet, and even forming dialogue relationships with people from different time and space through messages. That is to say, audio literary speeches allow contemporary literature to reconstruct a close and effective connection with readers across time and space. For example, some well-known writers often mention their stories of encountering countless rejections in their speeches on online platforms, which often resonate strongly with online users. They share their true experiences of "repeated failures and battles" and "getting braver with setbacks" in their messages. They participate in literary activities in this way, establishing an emotional connection of being present. In literary speeches, interactive segments are usually set up to obtain timely feedback from the audience, understand their concerns or questions, and further explain and deepen the content of the speech. The speaker's immediate response is also a part of literary speeches, and even an easily distinguished part. Mr. Chen Pingyuan from Peking University believes in his article "How to 'Educate' Literature" that literature tells the story that "having the speaker's' fluent speech 'alone is not enough, there must also be the listener's' unyielding heart', which is the ideal state". In fact, in many speech processes, the audience is willing to express different opinions or even refute them. Writers use the constructive opinions of the audience to improve the work itself and become aware of their own creative misconceptions. Critics can also deepen their own understanding by absorbing different perspectives. In literary speeches, due to the good communication and feedback between the speaker and the "reader", the meaning of "literature" is constructed. Through this positive dialogue and feedback mechanism, literary speeches become a way for writers and literary critics to improve themselves, and also reshape the "author" and "reader". Literary self-awareness has made "speech literature" possible. Nowadays, literary speeches gradually have a sense of self-awareness in terms of style. With more and more writers and literary critics participating in literary activities through audio speeches, including compiled and published speech scripts and other paper-based "voices", literary speeches have gradually become a form of audio literature that differs from traditional literary works. The sign of maturity of anything lies in the fact that it has a certain level of self-awareness. The dissemination of literary speeches through video and audio, the concentrated appearance in written form, and the transcendence and reflection on the author's works themselves all demonstrate the "conscious" consciousness of literary speeches. The logical result of "self-awareness" in literary speeches is that "speech literature", whether existing through audio-visual means or converted into written publication, can currently be positioned as a relatively independent literary form. The "self-consciousness" of literary speeches is also reflected in their way of existence and expression. Literary speeches mainly exist in the form of audio and video. This way of existence creates a completely different experience for people when listening to and watching literary speeches compared to reading other paper works. It is relatively more intuitive and more immersive - the speaker's tone and intonation, various body language, and facial expressions can all create a sense of immersion and participation for the audience or viewers. The audio-visual existence of literary speeches endows themselves with a new form of presentation and dissemination. Some literary speeches may have the opportunity to be compiled and published, but fundamentally, they are still a paper-based 'literary voice'. Although a writer's speech has been transformed into text, it often retains a large amount of colloquial expression, which is a faithful "live recording". Through the lines and lines, it seems that the writer's voice can be heard, whether simple, friendly, passionate or humorous, especially the particularly exciting parts marked in parentheses with words such as "laughter", "applause", "prolonged enthusiastic applause", etc., giving people a sense of immersion when reading. At this moment, reading is a form of listening. As a form of audio-visual instant transmission, literary speeches have certain differences from traditional fixed literary texts. Many literary speeches often showcase a state based on the author's work that transcends the work, maintaining a certain distance from the work and re examining, interpreting, and elevating the work beyond it. In addition, the distance between literary speeches and works of literary critics is relatively farther than that of writers. This is also a prerequisite for literary criticism and research. These speeches are generally theoretical analysis and research on various aspects of literature, and unlike specialized research works, they are more free and casual. Whether it is the speeches of writers or literary critics, they increasingly have their own subjectivity to a certain extent, with a relatively consistent and complete production system, communication system, and evaluation system. Literary speeches have the potential to grow into "speech literature", which is not only a repositioning and confirmation of literary forms in the context of new media, but also a self breakthrough sought by contemporary literature in its development process. Of course, literary speeches are still evolving, and their literary expressions and forms of existence are not yet stable and have a certain degree of ambiguity. The development trend still needs to be further observed and analyzed. (New Society)