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Technological analysis of variations in blade production and the flow of siliceous raw materials revealed new understandings of different types of socio-economic functioning on a supra-regional scale. In this article, we are focusing on supra-regional relationships between technical groups and the social dynamics involved in early Neolithic mobility within the communities of East Belgium. A detailed technological analysis was done to highlight discrete characteristics that permit the identification of distinct technical groups within the village of Vaux-et-Borset. Four technical groups have been identified in the Blicquy/Villeneuve-Saint-Germain village, whereas two technical groups have been highlighted for the previous Linear Pottery culture (LPC) occupation. The search for the origin of the different technical groups was to understand the micro-processes of Neolithization in East Belgium. A central area with a high-density population during the pioneer LPC colonization, Hesbaye became a peripheral occupation area of the Blicquy/Villeneuve-Saint-Germain culture. This fringe territory seemed to attract neighbouring communities in different ways. Multidirectional dynamics seems to characterize this small territory leading to the coexistence of a high diversity of technical groups.

In this contribution, we discuss how the East Belgian authors Hannes Anderer, Freddy Derwahl and Leo Wintgens represent history, borders and multilingualism in their novels. These contemporary authors have understood that coming to terms with the past is an important aspect in developing a genuine East Belgian collective identity. Furthermore, the multiple borders (with Germany, the Netherlands and Luxembourg) and the co-existence of several languages in this region have become constitutive of collective self-understanding, also with regard to the construction of a region-specific cultural memory. Finally, we show the narrative strategies used in the novels Unterwegs zu Melusine (2006), Bosch in Belgien (2006) and Wege aus Sümpfen. Roman einer Grenzlandschaft Teil I (2001) and Teil II (2006) in order to bring to bear the relation between minority and majority culture by recurring to imagology. [ABSTRACT FROM AUTHOR]