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This paper deals with the scopic enactment and negotiation of the scalar dynamics of gendered nationalism and their implication for women's third prison in the Egyptian post¬-independent setting. The paper particularly tackles the questions of the gender politics of nationalism and their scopic drive underpinning the cinematic adaptation of the gender story of the nation from text to screen along two historical contexts- the period of developmental and global modernity. Adopting a multicultural feminist approach, the paper examines three cinematic adaptations of two novels and a play. These are Idris' (1962) (Al'Ayb: Disgrace), al Zayat's (1960) l-Babal- Maftouh (Open Door) and alAsaal's (1982) Segnal- Nisa) Wovaen's Prison). The paper approaches the adaptations- Idris andKhalifa's (1967) العيب (Al'Ayb: Disgrace) (Youssf Issa and Latifa alZayat's (1963) al-Babal-Maftouh, Abu Zikri and Naoum's (2014) SegnalNisa- through both McClintock's framework on the gender politics of nationalism (1997), Hucheon's notion of \"the context of creation... and reception\" (Hutcheon 2006, 15) and Mulvey's take on the visual pleasure of narrative cinema. The paper capitalizes on the medially induced turn in Translation Studies (Littau 2011) with its attention to context and media as parameters and venues for constructing the self-image of national cultural identity. The paper endeavors to address the following questions: 1- How is the national story of gender difference narrated and adapted within the scopic regime of developmental and global modernity? 2- How are nationalist violent technologies meted out through cinematic adaptation of the developmental and global modem? 3- How are the Scopel enactment of the scalar dynamics of gendered nationalism naturalized through the visual pleasure of national cinema and the implication for women's third prison in women's cinema and the cultural dynamics of the global modem?

This review paper explores the multifarious phenomenon of translation from a paratextual perspective as developed by Gérard Genette (1987). Through examining the various aspects of paratexts and providing more insights into the peritextual as well as the epitextual constituents that shape the translated works, the present study seeks to reveal the interplay between the source text and its translation(s) in addition to shedding light on the sociocultural contexts in which these translations are produced and received by the target audience. Furthermore, the paper scrutinizes how paratextual elements operate as sociocultural mediators that are capable of shaping the target readers' perception and interpretation of their sociocultural surroundings. Through investigating the dynamic relationship between the translated texts and their paratexts, the study at hand aims to highlight how paratexts can be utilized not only as an effective tool for analyzing the ideological and sociocultural underpinnings of the translated products, but also as an instrument for evaluating the sociocultural impact on the reception and visibility of the target texts across different times, and hence foregrounding that the paratextual elements are as essentials as the textual ones in understanding the translation process.