本論文以「鄭成功」的文化符號多樣性著手，探討「鄭成功」神話的模式與人性的真實面，結合鄭成功在歷史教學與教案設計過程，將鄭成功本尊與「鄭成功」文化符號進行較合理的定位。並關涉鄭成功當初如何攻打熱蘭遮城，以及對待荷蘭俘虜與原住民的政策，結合108課綱的理念設計教案，進行一系列相關議題與教學活動的探究。 通過臺灣人對鄭成功的集體記憶，探討不同時期「鄭成功」文化符號的演化。結合不同論述媒介的發送與詮釋視角，可看出鄭成功如何從明代末年的反清復明的英雄形象，經過清代末年對抗外國人而逐步吸納，並形成與統治者合流的「民族英雄」，以及日本殖民時代的宣傳樣本。相對於此，反而較少以戰敗國(荷蘭)的角度來看鄭成功，以及屠殺原住民版本的「鄭成功」魔王形象出現。 眾所矚目的108課綱新的議題，其中之一就是海洋文化。鄭成功在臺灣歷史上，因為城市文明由於區域不同，因此有較受海洋影響的「海賊文化」，也有深居內陸，受當地神魔控制的「民間神話故事」，儼然成為不同版本的「鄭成功」文化符號多樣性論述。本文將透過一系列教案的設計與執行，結合符號學與傳播的槪念，探討「鄭成功」文化符號所代表的多元文化觀點，以及語言類比的教案設計表達模型。 This study is begun with Zheng Cheng-Kong's diversity of cultural symbols. An inquiry into the mode of Zheng Cheng-Kong's myth and the true side of the human nature combine Zheng Cheng-Kong to design the process in the history teaching and the teaching plan. It carries on more reasonable propositioning with Zheng Cheng-Kong in the flesh and cultural symbols of ＂Zheng Cheng-Kong＂. Officials involved in Zheng Cheng-Kong how to strike Fort Zeelandia at the beginning and treat a policy of Dutch captivities and aboriginal people. Through this policy combines the principle design of 108 curriculums and teaching plan to carry on the investigation of a series of related issues and the inquiry of teaching activities. Based on the collective memory of the Taiwanese to Zheng Cheng-Kong, this study found Zheng Cheng-Kong's evolution of cultural symbols in different periods. Combining different discourse media and interpretation angular, this study found how Zheng Cheng-Kong to be a hero image from overthrow Qing Dynasty and restore Ming Dynasty in the late of the Ming Dynasty. Towards the end of Qing Dynasty, he resisted the foreigners and absorbed gradually to become a national hero of the ruler confluence and promotional samples during Japanese occupation. By contrast, to see Zheng Cheng-Kong from the perspective of the defeated country (Dutch) and from the devil image of aboriginal massacre are seldom encountered. During a marked new issue of 108 curriculums, one of them is ocean culture. Due to the different regions of the city civilization, there is a pirate culture with the influence of the ocean in Taiwanese history of Zheng Cheng-Kong. Folk mythology that is deeply inland and controlled by local gods to become different versions in cultural symbols of diversity. This article will explore Zheng Cheng-Kong’s multiple perspectives of cultural symbols through the design and execution in diversity of lesson plans to combine a semiotics and communication conception and to express the model of language analogy.
