The Gothic seems to be a strong currency in the neoliberal era. Since the mid-1990s, and certainly with the success of series like ‘The Walking Dead,’ and ‘American Horror Story,’ or the more art-house ‘Les Revenants’ and ‘In the Flesh’ — for all their differences — there has been a recognizable surge in narratives about monstrous figures and spectral apparitions in film, television, graphic novels, literature, and music. In a series of articles and in a forthcoming volume, ‘International Gothic in the Neoliberal Age,’ (2017) British critic Linnie Blake has linked the current wave of Gothic productivity to the series of “dislocations that free market economics have inflicted in our own, global-imperial age” and the “trauma wrought to global ecology, society, and selves by the vicissitudes of post-1970s global capitalism”. According to her powerful reading, if Gothic matters today, it is because it is preoccupied with matters of direct political economic relevance to contemporary audiences. In short, the Gothic is omnipresent because it articulates “collective anxieties over resisting and embracing change in the twenty-first-century.”
Several palynological studies, which were carried out over the past decades on the graves of important historical personages have helped obtain valuable information on the intake of vegetable food and beverages consumed before death, the ingestion of toxic or poisonous substances, use of particular aromatic substances in funerary rites, the origin of the clothes found in the burial and vegetation of a particular range. In the case of Cangrande della Scala, palynological spectra, although at low concentration values, revealed the intake of vegetal components by the Prince in the last moments of his life. In particular, they showed the ingestion of foxglove leaves and flowers.