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The article discusses one of the tropes present in the representations of the Whitechapel killer: the waxworks of either the killer or his victims. These images were shaped by contemporary attitudes: from sensationalism in 1888, through the developing myth and business of ‘Jack the Ripper,’ to the beginnings of attention being paid to his victims. Examined are tableaus created from 1888 to current times, both physical and fictional twenty- and twenty-first-century texts encompassing various media, all of which may be located within the Baudrillardian realm of simulation. What they demonstrate is that the mythical killer keeps overshadowing his victims, who in this part of the Ripper mythos remain to a certain extent as dehumanised and voiceless as when they were actually killed.

On Waxworks Considered as One of the Hyperreal Arts: Exhibiting Jack the Ripper and His Victims