Just as Bakhtin stresses the dialogic aesthetic effect exerted by intertextuality from the perspective of theoretic assertion, Nabokov explores how intertextuality can be employed to expand the literary space into infinity by means of literary works. For example, in Lolita, a novel with complex text and high density of poetic texture, an elaborate network of intertextuality is woven in two ways by Nabokov: firstly, by parodying various genres such as confessions, autobiography, diaries, mystery story, psychoanalysis, stream of consciousness, fairy tales and travel notes etc., Nabokov manages to create his unique artistic form of Lolita. Secondly, with the help of his inspiration as if he were composing a long poem when creating this novel, by employing such means as allusions, citations, parody, pastiche or invention, Nabokov succeeds in integrating great lines or artistic patterns by scores of artistic masters into his own “poetic combination”. Two forms of “dialogues” are thus generated by the using of intertextuality in Lolita: one being the dialogue between the text of Lolita and those reference pretexts, which effectively enlarges the literary space in Lolita; the other being the dialogue between the author and the readers. By employing so many implied texts and implied authors in it, the writer challenges his readers and effectively inspires a boundless literary imagination in them until they can share aesthetic bliss with the creator.