A displaced person (sometimes abbreviated DP) is a person who has been forced to leave his or her native place, a phenomenon known as forced migration.

Origin of term[link]

The term was first widely used during World War II and the resulting refugee outflows from Eastern Europe,^[1] when it was used to specifically refer to one removed from his or her native country as a refugee, prisoner or a slave laborer. The meaning has significantly broadened in the past half-century. A displaced person may also be referred to as a forced migrant. The term "refugee" is also commonly used as a synonym for displaced person, causing confusion between the general descriptive class of anyone who has left their home and the subgroup of legally defined refugees who enjoy specified international legal protection. Most of the victims of war, political refugees and DPs of the immediate post-Second World War period were Ukrainians, Poles and other Slavs who refused to return to Soviet-dominated eastern Europe.

A.J. Jaffe claimed that the term was originally coined by Eugene M. Kulischer.^[2]

International law aspects[link]

If the displaced person has crossed an international border and falls under one of the relevant international legal instruments, they are considered a refugee.^[3] A forced migrant who left his or her home because of political persecution or violence, but did not cross an international border, is commonly considered to be the less well-defined category of internally displaced person (IDP), and is subject to more tenuous international protection. The forced displacement of a number of refugees or internally displaced persons according to an identifiable policy is an example of population transfer. A displaced person who crosses an international border without permission from the country they are entering is an illegal immigrant. The most visible recent case of this is the large number of North Koreans who have settled in the border region of China.

A migrant who fled because of economic hardship is an economic migrant. A special sub-set of this is development-induced displacement, in which the forced migrant was forced out their home because of economically driven projects like that of the Three Gorges Dam in China and various Indian dams. The internally displaced person generally refers to one who is forced to migrate for reasons other than economic conditions, such as war or persecution. There is a body of opinion that holds that persons subject to development-induced displacement should have greater legal protection than that granted economic migrants.

Persons are often displaced due to natural or man-made disasters. Displacement can also occur as a result of slow-onset climate change, such as desertification or sea-level rise. A person who is displaced due to environmental factors which negatively impact his or her livelihood is generally known as an environmental migrant. Such displacement can be cross-border in nature but is frequently internal. No specific international legal instrument applies to such individuals. Foreign nations often offer disaster relief to mitigate the effects of such disaster displacement.

Following the effects of Hurricane Katrina in 2005, the term "refugee" was sometimes used to describe people displaced by the storm and the aftereffects. There was an outcry that the term should not be used to describe Americans displaced within their own county, and the term "evacuee" was substituted in its place.^[4] The UNHCR similarly opposes the use of the term 'refugee' in reference to environmental migrants, as this term has a strict legal definition.^[5]

Derogatory Term[link]

"DP" has also been used a derogatory term used when referring to immigrants, specifically those from Eastern Europe coming to the United States, who have not been forced out of their native countries.^{[citation needed]} For example, Ukrainian immigrants from the "first wave" immigration (1890–1924) greatly resented the immigrants who came in the "second wave" after the Second World War, as the latter group were perceived not as "poor refugees" but as persons who had managed to leave Europe and bring considerable wealth with them.^{[citation needed][dubious – discuss]}

See also[link]

• Displaced Persons camp: DP camps following World War II
• Earl G. Harrison's "Report on DPs in Western Europe in 1945" to U.S. President Harry S. Truman
• April 1986 Chernobyl disaster created over 336,000 internally displaced persons

References[link]

This article needs additional citations for verification. Please help improve this article by adding citations to reliable sources. Unsourced material may be challenged and removed. (December 2008)

• Luciuk, Lubomyr, "Ukrainian Displaced Persons, Canada and the Migration of Memory," University of Toronto Press, 2000.

External links[link]

• Pictures of Refugees in Europe - Features by Jean-Michel Clajot, Belgian photographer
• Mission and Justice Refugee and Migrant news relating to the Asia - Pacific region.
• Refugee Studies Centre, University of Oxford
• Forced Migration Online
• Forced Migration Review world's most widely read magazine on displacement issues: published in four languages
• International Association for the Study of Forced Migration
• The Journal of Refugee Studies from Oxford University
• Photojournalist's Account - Images of displacement in Sudan
• Internal Displacement Monitoring Centre, Norwegian Refugee Council
• Women's Commission for Refugee Women and Children
• Hilton, Ella E. "Displaced Person: A Girl's Life in Russia, Germany, and America".Baton Rouge LA. :Louisiana State University Press July 2006. ISBN 978-0-8071-3192-3
• Rehabilitation for Emigration - IRO. Area Vocational Training School. Ingolstadt, Bavaria, Germany 1948
• UNESCO (2011) 'Migration and Climate Change'
• Piguet, E., Pécoud, A. and de Guchteneire, P. (2010) Migration and Climate Change: an Overview
• Displaced Persons Act of 1948

A person is a being, such as a human, that has certain capacities or attributes constituting personhood, the precise definition of which is the subject of much controversy.^{[vague language]} The common plural of "person", "people", is often used to refer to an entire nation or ethnic group (as in "a people"), so the plural "persons" is often used in contexts which require precision such as philosophical and legal writing.

Etymology[link]

In ancient Rome, the word "persona" (Latin) or "prosopon" (πρόσωπον: Greek) originally referred to the masks worn by actors on stage. The various masks represented the various "personae" in the stage play, while the masks themselves helped the actor's voice resonate and made it easier for the audience to hear.^[1]

In Roman law, the word "persona" became used to refer to a role played in court, and it became established that it was the role rather than the actor that could have rights, powers, and duties, because different individuals could assume the same roles, the rights, powers, and duties followed the role rather than the actor, and each individual could act in more than one role, each a different "person" in law.^{[tortured english][citation needed]}

The concept of a "person" was further developed during the Trinitarian and Christological debates of the first through sixth centuries. Since then, a number of important changes to the word's meaning and use have taken place, and attempts have been made to redefine the word with varying degrees of adoption and influence.

Many modern speakers of colloquial English conflate the meanings of role and actor, which can result in some confusion when they try to enter into legal discourse.^{[citation needed]}

Personhood[link]

An abstract painting of a person by Paul Klee. The concept of a person can be very challenging to define.

Personhood is the status of being a person. Defining personhood is a controversial topic in philosophy and law, and is closely tied to legal and political concepts of citizenship, equality, and liberty. According to law, only a natural person or legal personality has rights, protections, privileges, responsibilities, and legal liability. Personhood continues to be a topic of international debate. Historically, personhood was questioned during the abolition of slavery, the fight for women's rights and animal rights, debates about abortion, fetal rights and reproductive rights as well as debates about corporate personhood.^[2]

Various specific debates have focused and continue to focus on questions about the personhood of different classes of entities. Historically, the personhood of animals, women, and slaves has been a catalyst of social upheaval. Today, most living adult humans are usually considered persons, but depending on the context, theory or definition, the category of "person" may be taken to include such non-human entities as animals, corporations, sovereign states or other polities, estates in probate, artificial intelligences, or extraterrestrial life; and may exclude some human entities in prenatal development or those with extreme mental impairments or injuries. A deceased person may be considered a person or property, depending on jurisdiction.

Personal identity[link]

What does it take for individuals to persist from moment to moment — or in other words, for the same individual to exist at different moments?

Personal identity is the unique numerical identity of persons through time. That is to say, the necessary and sufficient conditions under which a person at one time and a person at another time can be said to be the same person, persisting through time. In the modern philosophy of mind, this concept of personal identity is sometimes referred to as the diachronic problem of personal identity. The synchronic problem is grounded in the question of what features or traits characterize a given person at one time.

Identity is an issue for both continental philosophy and analytic philosophy. A key question in continental philosophy is in what sense we can maintain the modern conception of identity, while realizing many of our prior assumptions about the world are incorrect.

Proposed solutions to the problem of personal identity include continuity of the physical body, continuity of an immaterial mind or soul, continuity of consciousness or memory, the bundle theory of self, and proposals that there are actually no persons or selves which persist over time at all.

See also[link]

References[link]

Further reading[link]

• Lukes, Steven; Carrithers, Michael; Collins, Steven, eds. (1987). The category of the person: Anthropology, philosophy, history. Cambridge: Cambridge University Press. ISBN 0-521-27757-4. 
• Cornelia J.de Vogel The concept of personality in Greek and Christian thought. In Studies in philosophy and the history of philosophy. Vol. 2. Edited by J. K. Ryan, Washington: Catholic University of America Press 1963. pp. 20–60
• Puccetti, Roland (1968). Persons: A Study of Possible Moral Agents in the Universe. London: Macmillan and Company. 
•  "Person". Catholic Encyclopedia. New York: Robert Appleton Company. 1913. 
• Korfmacher, Carsten (May 29, 2006). "Personal Identity". The Internet Encyclopedia of Philosophy. http://www.iep.utm.edu/p/person-i.htm. Retrieved 2011-03-09. 

External links[link]

Look up person in Wiktionary, the free dictionary.

• Rights of Non-Human Persons Program (Institute for Ethics and Emerging Technologies)

Peter Lorre
(1946)
Born	László Löwenstein (1904-06-26)26 June 1904 Rózsahegy (now Ružomberok), Austria-Hungary (now Slovakia)
Died	23 March 1964(1964-03-23) (aged 59) Los Angeles, California, U.S.
Occupation	Actor
Years active	1929–64
Spouse	Celia Lovsky (1934–45) Kaaren Verne (1945–50) Anne Marie Brenning (1953–64) 1 child

Peter Lorre (26 June 1904 – 23 March 1964) was an Austrian-American actor frequently typecast as a sinister foreigner.

He caused an international sensation with his portrayal of a serial killer who preys on little girls in the German film M (1931). Later he became a popular featured player in Hollywood crime films and mysteries, in particular with Humphrey Bogart and Sydney Greenstreet, and as the star of the successful Mr. Moto detective series.

Early life[link]

Lorre was born László Löwenstein on 26 June 1904, as the first child of Jewish couple Alajos Löwenstein and Elvira Freischberger, in the Austrian-Hungarian town of Ružomberok in present-day Slovakia, then known by its Hungarian name Rózsahegy. His parents had recently moved there, following his father's appointment as chief bookkeeper at a local textile mill. Beside working as a bookkeeper, Alajos Löwenstein also served as a lieutenant in the Austrian army reserve, which meant that he was often away on military manoeuvres.^[1] When Lorre was four years old, his mother died, probably of food poisoning, leaving Alajos with three very young sons, the youngest only a couple of months old. He soon remarried, to his wife's best friend, Melanie Klein, with whom he had two more children. However, Lorre and his stepmother never got on, and this coloured his childhood memories.^[1]

At the outbreak of the Second Balkan War in 1913, Alajos moved the family to Vienna, anticipating that this would lead to a larger conflict and that he would be called up. He was, at the outbreak of World War I in 1914, and served on the Eastern front during the winter of 1914-1915, before being put in charge of a prison camp due to heart trouble.^[2]

Acting career[link]

In Europe (1922-1935)[link]

Lorre began acting on stage in Vienna at the age of 17, where he worked with the famous Viennese Art Nouveau artist and puppeteer Richard Teschner. He then moved to the then German town of Breslau, and later to Zürich in Switzerland.

In the late 1920s, the young and short (165 cm (5 ft 5 in)) actor moved to Berlin, where he worked with German playwright Bertolt Brecht, including a role in Brecht's Mann ist Mann and as Dr. Nakamura in the musical Happy End (music by composer Kurt Weill), alongside Brecht's wife Helene Weigel and co-stars Carola Neher, Oskar Homolka and Kurt Gerron.

The actor became much more widely known after director Fritz Lang cast him as a child killer in the film M (1931). In 1932 he appeared alongside Hans Albers in the science fiction film F.P.1 antwortet nicht about an artificial island in the mid-Atlantic.

When the Nazis came to power in Germany in 1933, Lorre took refuge first in Paris and then London, where he was noticed by Ivor Montagu, Alfred Hitchcock's associate producer for The Man Who Knew Too Much (1934), who reminded the director about Lorre's performance in M. They first considered him to play the assassin in the film, but wanted to use him in a larger role, despite his limited command of English,^[3] which Lorre overcame by learning much of his part phonetically. He also was featured in Hitchcock's Secret Agent (1936).

Hollywood (1935-1964)[link]

Eventually, Lorre went to Hollywood, where he specialized in playing sinister foreigners, beginning with Mad Love (1935), directed by Karl Freund. He starred in a series of Mr. Moto movies, a parallel to the better known Charlie Chan series, in which he played John P. Marquand's seminal character, a Japanese detective and spy. He did not enjoy these films — and twisted his shoulder during a stunt in Mr. Moto Takes a Vacation — but they were lucrative for the studio and gained Lorre many new fans. In 1939, he was picked to play the role that would eventually go to Basil Rathbone in Son of Frankenstein; Lorre had to decline the part due to illness. In 1940, Lorre co-starred with fellow horror actors Bela Lugosi and Boris Karloff in the Kay Kyser movie You'll Find Out.

Left to right: Sydney Greenstreet and Lorre in The Maltese Falcon (1941), the first of nine films together.

Lorre enjoyed considerable popularity as a featured player in Warner Bros. suspense and adventure films. Lorre played the role of Joel Cairo in The Maltese Falcon (1941) and portrayed the character Ugarte in Casablanca (1942).^[4] Lorre made nine movies altogether with Sydney Greenstreet counting The Maltese Falcon and Casablanca, most of them variations on the latter film, including Background to Danger (1943, with George Raft); Passage to Marseille (1944, reteaming them with Casablanca stars Humphrey Bogart and Claude Rains); The Mask of Dimitrios (1944, with character actor Greenstreet receiving top billing); The Conspirators (1944, with Hedy Lamarr and Paul Henreid); Hollywood Canteen (1944); Three Strangers (1946), a suspense film about three people who are joint partners on a winning lottery ticket starring top-billed Greenstreet, Geraldine Fitzgerald, and third-billed Lorre cast against type by director Jean Negulesco as the romantic lead; and Greenstreet and Lorre's final film together, suspense thriller The Verdict (1946), director Don Siegel's first movie, with Greenstreet and Lorre finally billed first and second, respectively.

Lorre also branched out (without Greenstreet) into comedy with the role of Dr. Einstein in Arsenic and Old Lace, filmed by director Frank Capra in 1941, released in 1944, and starring Cary Grant and Raymond Massey. In 1941, Peter Lorre became a naturalized citizen of the United States.

After World War II, Lorre's acting career in Hollywood experienced a downturn, whereupon he concentrated on radio and stage work. In Germany he co-wrote, directed and starred in Der Verlorene (The Lost One) (1951), a critically acclaimed art film in the film noir style. He then returned to the United States where he appeared as a character actor in television and feature films, often spoofing his 'creepy;' image.

In 1954, he was the first actor to play a James Bond villain when he portrayed Le Chiffre in a television adaptation of Casino Royale, opposite Barry Nelson as an American James Bond. (In the spoof-film version of Casino Royale, British comedian Ronnie Corbett comments that SMERSH includes among its agents not only Le Chiffre, but also "Peter Lorre and Bela Lugosi".) Also in 1954, Lorre starred alongside Kirk Douglas and James Mason in 20,000 Leagues under the Sea.

A famous story is told in Hollywood that in 1956, both Lorre and Vincent Price attended Bela Lugosi's funeral. According to Price, Lorre asked him "Do you think we should drive a stake through his heart just in case?"^[5] However, according to Lugosi biographers Arthur Lennig and Gary Don Rhodes, neither actor attended Lugosi's funeral.^[6][7]

In 1959, Lorre appeared in NBC's espionage drama Five Fingers, starring David Hedison, in the episode "Thin Ice". In the early 1960s he worked with Roger Corman on several low-budgeted, tongue-in-cheek, and very popular films. He appeared in a supporting role in the 1961 film, Voyage to the Bottom of the Sea. In 1961, he was interviewed on the NBC program Here's Hollywood.

Marriages and family[link]

He was married three times: Celia Lovsky (1934 – 13 March 1945, divorced); Kaaren Verne (25 May 1945 – 1950, divorced) and Anne Marie Brenning (21 July 1953 – 23 March 1964, his death). In 1953, Anne Marie bore his only child, Catharine. His daughter Catharine made headlines after serial killer Kenneth Bianchi confessed to police investigators after his arrest that he and his cousin and fellow "Hillside Strangler" Angelo Buono had stopped Catharine Lorre disguised as police officers with the intent of abducting and murdering her in 1977, but after learning that she was the daughter of Peter Lorre, the pair let her go. It was only after Bianchi was arrested that Catharine Lorre realized whom she had met.^[8] Catharine died in 1985 of complications arising from diabetes.^[9]

In 1963 an actor named Eugene Weingand, who was unrelated to Lorre, attempted to trade on his slight resemblance to the actor by changing his name to "Peter Lorie", but his petition was rejected by the courts. After Lorre's death, however, he referred to himself as Lorre's son.^[10]

Health and death[link]

Lorre had suffered for years from chronic gallbladder troubles, for which doctors had prescribed morphine. Lorre became trapped between the constant pain and addiction to morphine to ease the problem. It was during the period of the Moto films that Lorre struggled and overcame his addiction.^[11]

Abruptly gaining a hundred pounds in a very short period and never fully recovering from his addiction to morphine, Lorre suffered many personal and career disappointments in his later years. He died in 1964 of a stroke. Lorre's body was cremated and his ashes interred at the Hollywood Forever Cemetery in Hollywood. Vincent Price read the eulogy at his funeral.^[12]

Legacy and mimicry[link]

Lorre has a star on the Hollywood Walk of Fame, at 6619 Hollywood Boulevard.

Lorre's distinctive accent and large-eyed face became a favorite target of comedians and cartoonists. In particular, several Warner Bros. cartoons used a caricature of Lorre's face with an impression by Mel Blanc, including Birth of a Notion, Hair-Raising Hare and Racketeer Rabbit An additional impression is Howard Morris' voicing of the character Weirdly Gruesome in several episodes of "The Flintstones" dating from about 1964.^{[citation needed]}

Books and comics[link]

In the early 1940s, the adventures of Batman and Robin appeared in daily newspapers. One story, The Two-Bit Dictator of Twin Mills, drawn by Batman co-creator Bob Kane, featured a hitman called Jojo who was, according to writer Al Schwartz, made to look like Lorre.^[13]

Films, television, and music[link]

Musician and filker Tom Smith won a Pegasus award for Best Classic Filk Song in 2006 entitled "I Want to be Peter Lorre" which appears on his filk album "Homecoming: MarCon 2005", which includes his vocal impersonation of the actor.^[14]

The Jazz Butcher's song "Peter Lorre" was first featured on the group's Conspiracy album, which was released in May 1986.^[15]

The stop motion film Corpse Bride features "The Maggot", a small green worm who lives inside the title character's head. His features and voice (provided by Enn Reitel) are caricatures of Peter Lorre. "From the very beginning Tim wanted the Maggot to be a Peter Lorre-esque character, and we had a good time working with that and it went through various design changes," said co-director Mike Johnson in the book Tim Burton's Corpse Bride: An Invitation to the Wedding.

On September 11, 2007 Brooklyn-based punk band The World/Inferno Friendship Society released a full-length album about Lorre called Addicted to Bad Ideas: Peter Lorre's Twentieth Century, which traces Lorre's film career, drug addiction, and death. It has been performed at the Famous Spiegeltent. The album was subsequently adapted into a multi-media stage production directed by Jay Scheib, which premiered at Webster Hall in New York City on January 9, 2009, and went on to play major arts festivals around the world, including Spoleto Festival USA (Charleston, SC), Luminato Festival (Toronto), Noorderzon Festival (Groningen, Holland) and Theaterformen (Hanover, Germany).

Filmography[link]

See also[link]

Biography portal

References[link]

Notes

Further reading

• Peter Lorre. Midnight Marquee Press. 1999. ISBN 1-887664-30-0. 
• Youngkin, Stephen D., James Bigwood, and Raymond Cabana (1982). The Films of Peter Lorre. Citadel Press. ISBN 0-8065-0789-6. 
• Youngkin, Stephen D. (2005). The Lost One: A Life of Peter Lorre. University Press of Kentucky. ISBN 0-8131-2360-7. http://books.google.com/books?isbn=0813123607. 

External links[link]

Wikimedia Commons has media related to: Peter Lorre

• Peter Lorre at the Internet Movie Database
• Peter Lorre at Find a Grave
• Peter Lorre at AllRovi
• Watch Peter Lorre in Fritz Lang's M
• The Lorre Library of Sound
• The Peter Lorre Companion
• Photographs of Peter Lorre
• The Lodger on Mystery in the Air, 1947, starring Peter Lorre and Agnes Moorehead
• Listen to Jack Benny Show 1941-03-09 (402) Guest Peter Lorre - Murder at the Racquet Club
• Listen to Jack Benny Podcast 1946-03-24 (579) Guest Peter Lorre - I Stand Condemned
• Mystery in the Air (1947)