This paper analyzes the one-guideline-one-version textbook and one-guideline-multiple-versions textbook using the perspective of Foucauldian discourse analysis. It points out that the discourse of returning to a one-guideline-one-version textbook produced a discourse space of interplay under concepts of knowledge, power, and a specific social culture context. Furthermore, it discusses the local and central government’s three main paths for revision of the law—accommodating public wishes, responding to current world trends, and relieving economic pressure on students and households—as discourse strategies. Finally, it points out the absence of a voice for students, teachers, other countries and educational organizations within this process and explicates the implications of the contention for textbook orientation in education and policy making.

　　In the recent two decades, parents, students and teachers of junior-high-schools have a common sense that students are learning more and more Chinese rhetorical devices. However, there is no reliable information on the change in rhetoric teaching in junior-highs. Therefore, the researcher decided to analyze the rhetoric teaching content of Taiwan junior-high Chinese textbooks to understand the change of rhetoric teaching. A total number of 66 junior-high Chinese textbooks based on 7 official curriculum standards/guidelines, published from 1968 to 2008, were analyzed. The result confirmed the general impression that there was a trend showing quantitative increase and qualitative change in rhetoric teaching content in junior-high textbooks. Compared to their parents, today junior-high students learn many more rhetorical devices, but less rhetoric on wording and sentence-making from their textbooks. The researcher suggested that empirical studies should be conducted to provide a solid knowledge base for rhetoric teaching and learning.

　　This present study mainly explored the curriculum articulation in primary to secondary social studies textbooks. The approach of content analysis was adopted to examine the two units “Prehistoric Culture and Aboriginal Culture” in the textbooks of primary schools in 2007 and of secondary schools in 2008, published by H publisher.
　　The study first involved a qualitative analysis to clarify whether the curriculum criteria and principles were met in the textbooks. Second, researchers analyzed the proportion of repetition in graphs by the quantitative method. Finally, the conclusions were provided as follows: (1) The content of the text: Most subjects in the secondary textbooks are based on primary textbooks and meet the curriculum criteria and principles. There are two subjects in secondary textbooks, The Ruins of Prehistoric Culture and The Social Organizations of Aborigines, which are similar to primary textbooks without any expansion, and so don’t meet the curriculum criteria. Furthermore, Life Art of Aborigines is presented in primary schools, but is absent in secondary schools. The curriculum articulation should be improved. (2) The presentation of graphs: There are two graphs that are repeated, but the others are different and show the major concepts meeting the curriculum criteria and principles.
　　Thereafter, based on the conclusions, researchers provided suggestions to a review committee for textbooks, textbook editors, publishers, and school teachers.

　　This article selects two editions of a high school textbook with chapters on contemporary art in Taiwan. We borrow the language use and social production of discourse analysis to analyze the text of the two editions.
　　From the above discourse analysis, it is possible to summarize the present status of contemporary art in Taiwan as it is presented in high school textbooks. It is as follows: (1) contemporary art represents the development of art in a certain period of time in the history of art in Taiwan, but here development does not necessarily mean “improvement” or “evolutionary.” For that reason, it is not suitable to distinguish modern art and traditional art as a dichotomy. (2) In Taiwan diversified discourse of contemporary art in textbooks is compared to traditional art by focusing more on the diversity of media or materials. (3) The “K” edition of the textbook is more generalized on the discourse of contemporary art in Taiwan, and the selection of artists is quite incomplete from a learning perspective. The topic “Future Development of Contemporary Art in Taiwan” is limited to professional arts education, and we do not see any discussion on “how to promote the understanding of our mother land.” (4) The “H” edition’s discourse on contemporary art is very similar to the “K” edition, but the main difference is “H” takes a more systematic approach by presenting the characteristics of contemporary art in Taiwan through a series of relevant knowledge comparisons. But some contradicting discourse stems from the fact that “realistic” artworks are categorized by time periods, resulting in two opposing views: local versus contemporary art.
　　This study proposes several ideas on textbooks for contemporary art in Taiwan, and hopes that more research can be done for art textbooks in the future.