Social finance and social investment are not challenging concepts to grasp. They use commercial-style investment tools to create a social as well as a financial return. The application, however, is not always as straightforward. This book begins in the wider field of social finance but focuses primarily on social investment as a tool. The reader is helped to understand this from different angles: introducing social investment, discussing social investment and taking a "deep-dive" into it to bring it to life. This unique book takes the reader on a journey from first principles to detailed practical application. This book examines the policy context and asks why social investment has only recently become so popular, when in reality this is a very old concept. This is linked to the agenda of making charities more "business-like", set against the changing face of investment, as charities can no longer rely on donations and grants as guaranteed income. The work they do is more important than ever and social investment, used with care, offers a new opportunity that is further explored in this text. Mark Salway, Paul Palmer, Peter Grant and Jim Clifford will help readers understand how a small amount of borrowing, or a different business model focused away from grants and donations, could be transformational for the non-profit sector.

Social finance and social investment are not challenging concepts to grasp. They use commercial-style investment tools to create a social as well as a financial return. The application, however, is not always as straightforward. This book begins in the wider field of social finance but focuses primarily on social investment as a tool. The reader is helped to understand this from different angles: introducing social investment, discussing social investment and taking a "deep-dive" into it to bring it to life. This unique book takes the reader on a journey from first principles to detailed practical application. This book examines the policy context and asks why social investment has only recently become so popular, when in reality this is a very old concept. This is linked to the agenda of making charities more "business-like", set against the changing face of investment, as charities can no longer rely on donations and grants as guaranteed income. The work they do is more important than ever and social investment, used with care, offers a new opportunity that is further explored in this text. Mark Salway, Paul Palmer, Peter Grant and Jim Clifford will help readers understand how a small amount of borrowing, or a different business model focused away from grants and donations, could be transformational for the non-profit sector.

This book looks at the role of popular music in constructing the myth of the First World War. Since the late 1950s over 1,500 popular songs from more than forty countries have been recorded that draw inspiration from the War. National Myth and the First World War in Modern Popular Music takes an inter-disciplinary approach that locates popular music within the framework of 'memory studies' and analyses how songwriters are influenced by their country's 'national myths'. How does popular music help form memory and remembrance of such an event? Why do some songwriters stick rigidly to culturally dominant forms of memory whereas others seek an oppositional or transnational perspective? The huge range of musical examples include the great chansonniers Jacques Brel and Georges Brassens; folk maestros including Al Stewart and Eric Bogle; the socially aware rock of The Kinks and Pink Floyd; metal legends Iron Maiden and Bolt Thrower and female iconoclasts Diamanda Galas and PJ Harvey.

This book challenges scholarship which presents charity and voluntary activity during World War I as marking a downturn from the high point of the late Victorian period. Charitable donations rose to an all-time peak, and the scope and nature of charitable work shifted decisively. Far more working class activists, especially women, became involved, although there were significant differences between the suburban south and industrial north of England and Scotland. The book also corrects the idea that charitably-minded civilians' efforts alienated the men at the front, in contrast to the degree of negativity that surrounds much previous work on voluntary action in this period. Far from there being an unbridgeable gap in understanding or empathy between soldiers and civilians, the links were strong, and charitable contributions were enormously important in maintaining troop morale. This bond significantly contributed to the development and maintenance of social capital in Britain, which, in turn, strongly supported the war effort. This work draws on previously unused primary sources, notably those regarding the developing role of the UK's Director General of Voluntary Organizations and the regulatory legislation of the period.

Digital techniques are central to almost all modern telecommunications systems. The third edition of Digital Communications has retained both its comprehensive coverage and its balance between theory, applications and systems implementation. Its main aim is to develop the mathematical theory of signal processing and use this theory to describe modern digital communications. This text is geared towards students who already have a technical understanding of electrical engineering from their introductory years at university and who wish to focus on digital communications. It covers everything these students will need to know, including modern techniques. It is also suitable for professional engineers.

This book looks at the role of popular music in constructing the myth of the First World War. Since the late 1950s over 1,500 popular songs from more than forty countries have been recorded that draw inspiration from the War. National Myth and the First World War in Modern Popular Music takes an inter-disciplinary approach that locates popular music within the framework of 'memory studies' and analyses how songwriters are influenced by their country's 'national myths'. How does popular music help form memory and remembrance of such an event? Why do some songwriters stick rigidly to culturally dominant forms of memory whereas others seek an oppositional or transnational perspective? The huge range of musical examples include the great chansonniers Jacques Brel and Georges Brassens; folk maestros including Al Stewart and Eric Bogle; the socially aware rock of The Kinks and Pink Floyd; metal legends Iron Maiden and Bolt Thrower and female iconoclasts Diamanda Galas and PJ Harvey.