Influence of infrastructure and extralinguistic factors, mutually permeable levels, leads to the existence in the language of non-homogeneous units operating in the inter-layer space and combining the properties of the boundary of language classes [1, 156]. Studying the dynamics of language is impossible without the research of laws of evolution transition units, identifying those characteristics that would allow them to determine the status of the language, or the vector of its development.

Despite the fact that the omission of the article in the stylistic purposes is a fairly well-known phenomenon, as evidenced by the grammar references, and there and in research works of the article’s style  is mainly indicated  the omission of the article headlines [2, 77; 3, 217; 4, 25-62; 6, 319; 5 67-68; 8, 263; 7, 204]. Meanwhile, this stylistic device was fairly widespread in the functional style of fiction.

This article discusses the omission of article in modern English literature of XXI century. In particular, the literature of the XIX century, the omission of the article is rare and is not a feature of individual style.

Thanks to a range of linguistic resources, namely the inversion, the participial and, of course, the omission of articles, the reader must be alive to make the picture more sharply and to feel it in the comic. The author as if gives a 3 D effect, involving the reader in the middle of the action.

Based on the novel of contemporary British writer H. Fielding “Bridget Jones Diary”, written in the first person, clearly shows the active use of the omission of the article that allows the writer to achieve different artistic effects, focusing the reader’s attention on the values of significant words. That genre of the diary defines in many ways the active use of this technique, in combination with other means of expression – lexical and syntactic, in the novel. Here is an example:

Just triumphantly returned from heroic expedition to go downstairs for newspaper and glass of water. Could feel water flowing like crystal stream into section of head where most required.

Also worried about how to celebrate birthday. Size of flat and bank balance prohibits actual party. Maybe dinner party?

Feel extremely miserable about whole business to tell truth [9, 102].

The omission of the article is extremely relevant reception, because on the one hand, it provides a styling statement in this blog at all, but on the other hand, allows you to create different stylistic effects. Basically comic life situations are enhanced, such as when Bridget in a hurry was going to work and mentally gave herself the command:

Open wardrobe. Stare at clothes.

Select shirt. Try to find black Lycra-mini-skirt. Go through drawers and search behind bedroom chair. Skirt has vanished.

Search for hairbrush. Locate in handbag.

Suddenly remember had handbag in bedroom when looking for hairbrush but cannot find. Eventually locate under clothes from wardrobe [9, 85].

Sometimes the atmosphere of anxiety and alarm is created, using the same admission, when the heroine is waiting for a call of his friend, which, however, only reinforces the comic effect:

Decided to nip round corner for cigarettes. On way up staires heard phone ringing. Suddenly realizing had forgotten to put answerphone back on when Tom rang, tore up staires, emptied contents of handbag on floor to find key and threw self across from to phone are which point phone stopped [9, 132].

This manner of communication with itself has the character to simplify the language by lacunar articles’ designs, where the author, therefore, wants to plunge the reader into the world of the main character, to feel like the main character, to convey an emotional component context.

Sometimes L. Weisberger, the author of no less acclaimed novel “The Devil Wears Prada” uses a similar manner, the omission of the article.” Compare:

Table, table, table. There it was. Deposit book on table.

 Clutch, gas, shift, release clutch. I repeated over and over in my head, the mantra offering little comfort and even less direction amid the screeching midday traffic [10, 178].

Both examples of using the omission of the article in the inner monologues of the heroine show the tense situation. Again, as in the first product, the main character uses a mental monologue, making the situation more acute and bright.

The omission of the article in these examples basically expresses strong emotions of talkers about such a rapid change in behavior, personal life and career. In some cases, there is an irony. In many cases author addresses herself and helps convey the dynamics of action and tension of the situation: all the attention focused on the comedy of the situation, and the same is expected from the reader.

Thus, the omission of the article in the stylistic purposes in poetry plays a great role, differing in the syntax and content plan. We can say that in English prose, along with the parallel structures, allows for greater freedom of rhythmic organization, actively functioning nominative absolute turnover (Nominative Absolute Constructions), as part of which the nouns are used either classified or individualized value [8, 137].