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As the Korean Wave “flows well” into every corner of the world, translation, which used to be defined only as a process of translating words or text from one language into another, now needs to be redefined as cultural “channel”, helping the transfer of one culture to another. In this regard, we will examine the role of translation as a kind of “waterway” in the process of accepting a country’s culture in other countries, with a focus on the French writer Maupassant translated in Korea, especially after Liberation. Guy de Maupassant (1850-1893) is one of the most widely translated writers in Korea from the early modern times — his first Korean translation, Le pain maudit was translated by Jin Hak- Mun in 1917 — to the present. His commercial popularity, however, has led to an excessive number of translations, which lack translation ethics and self-censorship, and as a result, they have formed an irreversible, literary prejudice in Korea that Maupassant’s works are sentimental, slushy and fit for female readers. We will have a close look at how this stereotype has developed through translation, with two examples: Une Vie (1883), Pierre et Jean (1888). Both were translated into melodramatic and problematic Korean titles; for instance, the first has been translated as A woman’s lifetime, and the second as A foggy image of a mother (1959), Mother’s secret (1974), and Mother’s lover (1993). The Korean translations of these two novels are great examples to demonstrate that the translation has an important role as a “channel” in terms of accepting foreign culture, including language and literature.