Search engine for discovering works of Art, research articles, and books related to Art and Culture
ShareThis
Javascript must be enabled to continue!

Acting in Concert

View through CrossRef
The regulation of concerted action is one of the building blocks of the European approach towards takeover bids and plays a crucial role in the mandatory bid regime. This paper explores the concept and the implications of acting in concert in the light of the Takeover Bids Directive and its national implementing measures. In particular, it shows how the original role of acting in concert lies with its anti-elusive function in the context of the mandatory bid due to the acquisition of shares, which is the only one foreseen in the Directive. However, this function has been implemented in different ways at national level. Member States have followed different approaches on the crucial matter of shareholder coordination in relation with the exercise of voting rights. Some of them have maintained the Takeover Bids Directive approach, which links the mandatory bid rule to holding shares and acquiring control as a result of an acquisition. Others have expanded the role of acting in concert so that a bid is required regardless of an acquisition of shares, as long as a group of shareholders coalesce to adopt a common (lasting) policy with regard to the listed company. Overall, national laws implementing the Takeover Bids Directive fall short of providing sufficient legal certainty for investors. But this is all the more so when the mandatory bid rule is linked to concerted action alone, even in the absence of an acquisition, because of the risk that ordinary forms of cooperation or coordination between shareholders may trigger such an exorbitant obligation as a takeover bid for the entire share capital. The low level of harmonization across the EU contributes to limiting investor protection by making shareholder coordination more difficult-a paradoxical effect if one considers the original purpose of the mandatory bid rule and of other recent European company law initiatives-and risk discouraging crossborder investments.
Title: Acting in Concert
Description:
The regulation of concerted action is one of the building blocks of the European approach towards takeover bids and plays a crucial role in the mandatory bid regime.
This paper explores the concept and the implications of acting in concert in the light of the Takeover Bids Directive and its national implementing measures.
In particular, it shows how the original role of acting in concert lies with its anti-elusive function in the context of the mandatory bid due to the acquisition of shares, which is the only one foreseen in the Directive.
However, this function has been implemented in different ways at national level.
Member States have followed different approaches on the crucial matter of shareholder coordination in relation with the exercise of voting rights.
Some of them have maintained the Takeover Bids Directive approach, which links the mandatory bid rule to holding shares and acquiring control as a result of an acquisition.
Others have expanded the role of acting in concert so that a bid is required regardless of an acquisition of shares, as long as a group of shareholders coalesce to adopt a common (lasting) policy with regard to the listed company.
Overall, national laws implementing the Takeover Bids Directive fall short of providing sufficient legal certainty for investors.
But this is all the more so when the mandatory bid rule is linked to concerted action alone, even in the absence of an acquisition, because of the risk that ordinary forms of cooperation or coordination between shareholders may trigger such an exorbitant obligation as a takeover bid for the entire share capital.
The low level of harmonization across the EU contributes to limiting investor protection by making shareholder coordination more difficult-a paradoxical effect if one considers the original purpose of the mandatory bid rule and of other recent European company law initiatives-and risk discouraging crossborder investments.

Related Results

Contemporary Audience Rituals at Classical Concerts.
Contemporary Audience Rituals at Classical Concerts.
Contemporary cultural consumers are now much more likely to listen to recorded classical music in a private setting than attend a concert. One effect of this has been the aging of ...
Structural-Functional Model of Musicians Performance Reliability in Concert And Stage Activity
Structural-Functional Model of Musicians Performance Reliability in Concert And Stage Activity
The author of the article developed a structural-functional model of performance reliability of musicians in concert and stage activities and displayed it in a picture in its entir...
Leo Beranek and concert hall acoustics
Leo Beranek and concert hall acoustics
Dr. Leo Beranek’s pioneering concert hall research and project work has left an indelible impression on the study and practice of concert hall design. Working as both scientist and...
Perilaku Konsumtif Menonton Konser Agust D Tour ‘D-Day In Jakarta’
Perilaku Konsumtif Menonton Konser Agust D Tour ‘D-Day In Jakarta’
Abstract. K-Pop idols or artists often carry out world tours or music concerts which of course can be attended by tens of thousands of fans. As is the case in Indonesia, a number o...
Shoe Box: An Analysis of the Concert Hall and its Adaption to Small-Scale Music Performance Space
Shoe Box: An Analysis of the Concert Hall and its Adaption to Small-Scale Music Performance Space
<p>In the first 150 years after 1600, western music was traditionally performed in palace ballrooms which were mostly rectangular in shape. In the following two centuries a c...
Cis-Acting Transcriptional Regulatory Elements
Cis-Acting Transcriptional Regulatory Elements
Abstract Although it is impossible to discuss the cis-acting DNA sequence elements without reference to the trans-acting factors that bind to these sequences, thi...
The Breathing Instrument: An Iconographic Study of the Concert of Angels in Master Matthias’s Isenheim Altarpiece
The Breathing Instrument: An Iconographic Study of the Concert of Angels in Master Matthias’s Isenheim Altarpiece
The Concert of Angels panel of the Isenheim Altarpiece is prominently portrayed in a central position of the retable painted by the German master known as Matthias Grünewald. Yet, ...

Back to Top