PhD candidates: You are welcome and encouraged to deposit your dissertation here, but be aware that
1) it is optional, not required (the ProQuest deposit is required); and
2) it will be available to everyone on the Internet; there is no embargo for dissertations in the UNL DigitalCommons.

Master's candidates: Deposit of your thesis is required. If an embargo is necessary, you may deposit the thesis at http://digitalcommons.unl.edu/embargotheses/ with the prior approval of your department and the Graduate Office (contact Terri Eastin).

Artists: Please include examples of your artwork. It can be inserted into the Word file that contains your abstract, or put in a separate Word (or PDF) file that can be added as a "supplemental" or "additional" file. Or individual files (jpg, tif, gif, mpg, wmv, etc.) can be added as "additionals". There is a box to check on the submission form, and the system comes back and asks you to upload as many as you need.

All depositors: We try to observe a 24-hour "cooling off" period to give you opportunity to correct those "oops" issues that seem to emerge just after deposit.
Upon deposit, you will immediately receive an email that your submission has been received (and this is what you need to show the Graduate Office).
However, you can still log back in and select Revise and upload a new version with your advisor's name spelled right, or your mother thanked in the Acknowledgments, or whatever you're stressing about.
After about a day, your submission will be "published" or "posted", making it available to the Internet; you will get another email to that effect, and your submission can no longer be changed--by you.
If further changes are needed, these can be made by sending a revised file to the administrator < proyster@unl.edu > requesting replacement of the current online version. DO NOT RESUBMIT YOUR THESIS / DISSERTATION. That creates duplicate records, confusion, wasted effort, frustration, sadness, tears, and causes kittens to get sick.

Finally: Congratulations; you are almost there. Click the "Submit your paper or article" link at the bottom of the gray box at left. Follow the instructions. You should be able to copy (Ctrl-C) and paste (Ctrl-V) most fields.
You are the sole author; your advisor is not considered a co-author.
Your institution is "University of Nebraska-Lincoln" (not "at Lincoln" or ", Lincoln"). Do not leave it blank; then the administrator has to fill it in, and he is tempted to make it something silly.
You do not need to repeat your name and title in the Abstract field; just the body of the abstract.
When you reach the question "Was this submission previously published in a journal?", just skip that part.
Be sure to click the "Submit" button at the bottom. Files upload at the rate of about 5 Mb per minute, so if you have an ungodly large file, it may take a bit of time.
If your file exceeds 40 Mb, think about reducing its size--there are many ways; Google "reduce pdf file size" to find some.

Okay, get started. That thesis is not going to submit itself.

Follow

2014

PDF

Form in Place, Normandy Alden

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Constructions of Black Identity in the Work of Glenn Ligon and Kara Walker, Shadé R. Ayorinde

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The Imperial Temple at Antiochia ad Cragum: Aspects of Architecture and Iconography, Geraldine S. Dobos

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Iterations, Thomas Lowell Edwards

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A Language In Becoming, Camille C. Hawbaker

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A Collection: Simulations of the Home, Liana M. Owad

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Serpentine Imagery in Nineteenth-Century Prints, Paula A. Rotschafer

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Carrying Water: A M.F.A. Thesis Exhibition by Aaron Sober, Aaron M. Sober

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Closely Distant, Crisha Yantis

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Square With the World, Dustin Andrew Young

2013

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Your Turn, Samuel J. Berner

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Half True - All Real, Matthew G. Blache

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PATH - LOSS, Gregory S. Cook

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A Relationship of Parts, Jacob Francois

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MANY WORLDS CONVERGE HERE: VISION AND IDENTITY IN AMERICAN INDIAN PHOTOGRAPHY, Alicia L. Harris

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Threshold, Alexandria Knipe

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Constructions, Sean Ryan Larson

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When the World Went Quiet, Megan E. McLeay

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Geographies of Story, Emma Nishimura

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Science Fictional Transcendentalism in the Work of Robert Smithson, Eric Saxon

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The Ambiguous Graveyard: Religious Sympathy and Erotic Desire in Sir John Everett Millais's The Vale of Rest, Greg W. Spangler

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Dream State , Audrey L. Stommes

2012

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Material and Motion: Phenomenology and the Early Work of Carolee Schneemann 1957-1973, Regina M. Flowers

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Someone/No One, Jamie L. Fritz

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You Are Some Other Thing, Victoria Hoyt

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Transcendent Materiality, Lauren E. Mabry

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Media Revolution: Early Prints from the Sheldon Museum of Art, Gregory Nosan and Alison G. Stewart

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A TRANSFORMATIONAL BOND, Nettie L. Rogers

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Money Painting and the Duplicitous Multiple: The Interdependence of American Copyright Legislation and Artistic Production, Jaclyn N. Siemers

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Framing Cultural Capitalism: William Wilson Corcoran and Alice Walton as Patrons of the American Art Museum, Kelsey E. Tyler

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All That We See(m), Alison H. VanVolkenburgh

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Zoomorphic Penannular Brooches in 6th and 7th Century Ireland, Esther G. Ward

2011

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Scenes from a Crash, Byron J. Anway

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Euergetism and Gift-Giving at Eleusis: A Case Study of Ancient Patronage Structures, Bailey E. Barnard

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Measured Chance, Brian R. Kluge

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Stealing Horses and Hostile Conflict: 1833-1834 Drawings of Mato-Tope and Sih-Chida, Kimberly Minor

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Rising Tides and Color Revolutions, Charles Mitchell

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Basic Space, Sean P. Morrissey

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A Memory Forgotten: Representation of Women and the Washington D.C. Arsenal Monument, Melissa Sheets

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Closely Observed, Meghan C. Sullivan

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Told, Retold, and Repo'd, Jason Tanner T. Young

2010

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Uova, Elisa N. Di Feo

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CUT, Bryan Drew

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the logic of objects, David B. Eichelberger

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Black, White, Brown, Aisha S. Harrison

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Lost Channels, Joshua P. Johnson

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Breathe... Keep Breathing., Shaun C. Kiel

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Abstention and Opposition, Ryan D. LaBar

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Once-Removed (And Other Familiar Relations), Emily Newman

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Am I Here?, Carla M. Potter

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I've fallen in love with every one of you..., Kayleigh L. Speck

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Maelstrom, Gertrude L. Teijink

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From Baa to Eye: Language as Images, yinghua zhu