Madness and the city
The collapse of reason and sanity in Alan Moore’s From Hell
in Alan Moore and the Gothic Tradition
Abstract only
Log-in for full text

You are not authenticated to view the full text of this chapter or article.

manchesterhive requires a subscription or purchase to access the full text of books or journals - to see content that you/your institution should have access to, please log in through your library system or with your personal username and password.

If you are authenticated and think you should have access to this title, please contact your librarian.

Non-subscribers can freely search the site, view abstracts/extracts and download selected front and end matter. 

Institutions can purchase access to individual titles; please contact manchesterhive@manchester.ac.uk for pricing options.

ACCESS TOKENS

If you have an access token for this content, you can redeem this via the link below:

Redeem token

This chapter proposes a reading of Alan Moore's retelling of the 1888 Whitechapel murders in relation to its treatment and representation of madness. The principal argument of this analysis is that in From Hell the Ripper murders embody the collapse of logos at the end of the nineteenth century. Thus they expose the rise of a problematic anxiety about modernity. In doing so, the nature and context of the crimes point to the uncanny pervasiveness of insanity within the city. As pathologies of the mind constitute a significant strand in Gothic literature from Dr Jekyll and Mr Hyde to Rebecca, so the reason/madness opposition underpins Moore's complex retelling of the murders. From Hell engages with the shifting boundaries of madness and reason and exposes the precarious foundations of normative ideology supporting definitions of mental sanity on many levels.

Metrics

All Time Past Year Past 30 Days
Abstract Views 52 20 0
Full Text Views 50 22 1
PDF Downloads 11 2 0