A Quote by Fabio Lanzoni

To me, the biggest attraction is a woman's charisma, her soul, her inner strength. — © Fabio Lanzoni
To me, the biggest attraction is a woman's charisma, her soul, her inner strength.
The misnamed "feminine" woman, so admired by her creator, man - the woman who is acquiescent in her inferiority and who has swallowed man's image of her as his ordained helpmate and no more - is in reality the "masculine" woman. The truly feminine woman "cannot help burning with that inner rage that comes from having to identify with her exploiter's negative image of her," and having to conform to her persecutor's idea of femininity and its man-decreed limitations.
It was Stevie Nicks who made the biggest impression and really resonated with me. I found her intriguing and liked her voice. Her songs were kind of mysterious, and she was a woman in a rock band.
I tried to breathe, failing. I clutched her to me, tears slipping from under my closed eyes. It was as if her soul was liquid fire and I could feel her aura, swirling about mine. She was taking my aura. But I wanted to give it to her, to cat her in a small part of me and protect her. Her needs made her so fragile.
There's a greater power and charisma when a woman is aware of her sexual prowess when it's not necessarily about victimization or someone else's pleasure but her own feeling about her own body and understanding and loving herself.
The Eucharist had so powerful an attraction for the Blessed Virgin that she could not live away from It. She lived in It and by It. She passed her days and her nights at the feet of her Divine Son... Her love for her hidden God shone in her countenance and communicated its ardor to all about her.
I think musicians oftentimes have the right skill set to be good actors. And with Rihanna, I noticed her and knew of her obviously, and was very taken with her charisma and her confidence.
A hat is an expression of a woman’s soul. It is something that she wears on her head, but it belongs to her heart. It is the keynote of her personality, the finishing touch that makes her look beautiful, smart, and sure of herself.
When I look at a woman through my camera, I see her with complete admiration and appreciation of her beauty, strength, and power - and that's how I do my best to represent her.
What's so lovely about Wonder Woman is yes, she has the strength and power of a goddess, but she has the heart and mind of a human. So I play her as I think a woman like me would act in the situations she's going through. You treat her as a normal woman who happens to be fantastic and almighty.
Outward objects cannot take hold of the soul, nor force their passage into her, nor set any of her wheels going. No, the impression comes from herself, and it is her own motions which affect her. As for the contingencies of fortune, they are either great or little, according to the opinion she has of her own strength.
When a woman feels the first grip of her child's dependence upon her, she has forever lost her freedom. If the child dies, a grave shackles her soul through life. If the child lives, the welfare of that child keeps perpetually between her and the sun.
A woman's whole life is a history of the affections. The heart is her world: it is there her ambition strives for empire; it is there her avarice seeks for hidden treasures. She sends forth her sympathies on adventure; she embarks her whole soul on the traffic of affection; and if shipwrecked, her case is hopeless — for it is a bankruptcy of the heart.
The point I wish plainly to bring before you on this occasion is the individuality of each human soul--our Protestant idea, the right of individual conscience and judgment--our republican idea, individual citizenship. In discussing the rights of woman, we are to consider, first, what belongs to her as an individual, in a world of her own, the arbiter of her own destiny, an imaginary Robinson Crusoe with her woman Friday on a solitary island. Her rights under such circumstances are to use all her faculties for her own safety and happiness.
Adultery is in most cases a theft in the dark. At such moments almost every woman betrays her husband's innermost secrets; becomes a Delilah who discloses to a stranger, discloses to her lover, the mysteries of her husband's strength or weakness. What seems to me treason is, not that women give themselves, but that a woman is prone, when she does so, to justify herself to herself by uncovering her husband's nakedness, exposing it to the inquisitive and scornful gaze of a stranger.
Chloë Moretz as Carrie has an inherent amount of charisma, the camera loves her, she's been acting since she's five, she's a total pro, she knows her instrument. I took her on this phenomenal journey from a confident child star who has the great privileges of a family who loves her, great success, and huge confidence, to a wounded woman who had to gain her confidence back and desperately wanted love and acceptance.
I know the woman has no soul, I know The woman has no possibilities Of soul or mind or heart, but merely is The masterpiece of flesh: well, be it so. It is her flesh that I adore; I go Thirsting afresh to drain her empty kiss. I know she cannot love: it is not this My vanquished heart implores in overthrow. Tyrannously I crave, I crave alone, Her splendid body, Earth's most eloquent Music, divinest human harmony; Her body now a silent instrument, That 'neath my touch shall wake and make for me The strains I have but dreamed of, never known.
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