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 or project is required. (If an embargo, [restricted access] is necessary, you may deposit the thesis at http://digitalcommons.unl.edu/embargotheses/ — but only after getting the prior approval of your department and the Graduate Office; contact Terri Eastin).
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 < firstname.lastname@example.org > 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.
The Creation of a Novelist, David Henson
Life in Two Worlds: Autobiography Tradition in Native Women Writers' Literature, Ekaterina Kupidonova
Living Lore: B. A. Botkin, Folklore, and the State, Kirby Little
Silence Emerging from Birds, Rebecca Macijeski
Dance, Er, Ethan Alexander Munson
A City Room of One's Own: Elizabeth Jordan, Henry James, and the New Woman Journalist, James Hunter Plummer
A Critical Analysis of History’s Best Wishes, Jeffery Keene Short
Urgent News From The Front, Jennifer J. Gray
Birth Family Search, Trauma, and Mel-han-cholia in Korean Adoptee Memoirs, Katelyn J. Hemmeke
Teaching Place: Heritage, Home and Community, the Heart of Education, Judy Kay Lorenzen
I Dreamed in Terms of Novels: Dorothy Day and the Ethics of Nineteenth-Century Literature, Katherine Thomsen Pierson
The Girl With The Fur Coat, Cameron S. Steele
Things I Haven't Told You, Kimberly A. Tedrow
Redwoods, John Joseph Hill
Scenes From the Gaijin Life, Ian Rogers
The Writing Process: Using Peer Review to Develop Student Writing, Jennifer M. Troester
Pedagogy in Action: Teaching and Writing as Rhetorical Performance, Lesley E. Bartlett
The Page Turner, Angela Berry, Emily Burns, Kirsten Clawson, Jaime DeTour, Daley ElDorado, Eric Holt, Nathan Sindelar, Erin Thomas, and Caitlin Wilson
The Gallimaufry, Kaitlin Hildreth, Andrew Saunders, Annie Stokely, Francesca Torquati, Bailey Pons, Nick Robinson, Morgan Condello, Aliana Keplinger, and Layla Younis
Adding to Blake Set to Music: A Bibliography, Ashanka Kumari
Leaving Myself Behind, Shea Montgomery
Shelterbelt: Land that Speaks, Ryan Oberhelman
Poets Don't Ride Motorcycles, Andrew G. Tully
Midwestern Mythologies, Adam Lee Hubrig
Intersections in Immanence: Spinoza, Deleuze, Negri, Abigail Lowe
Hardy, Darwin, and the Art of Moral Husbandry, Owen Roberts-Day
MONSTROSITY, Karen N. Wohlgemuth
Intermodality in Teaching Writing, Margarette Christensen
Cumberland [abstract], Megan Gannon
"To Bend Without Breaking": American Women's Authorship and the New Woman, 1900-1935, Amber Harris Leichner
Imaginary You, Joshua A. Ware
URBAN PLACE-CONSCIOUS EDUCATION: PRIDE IN THE INNER CITY, Tamara A. Zwick
IBN ARABSHAH: THE UNACKNOWLEDGED DEBT OF CHRISTOPHER MARLOWE’S TAMBURLAINE, Ahlam M. Alruwaili
Up Too Late: A Novel Excerpt, Peter Bayless
Towards a Theory of Comic Book Adaptation, Colin Beineke
City of Slow Dissolve, John M. Chavez
Mobilizing Sentiment: Popular American Women's Fiction of the Great War; 1914-1922, Sabrina Ehmke Sergeant
Living Well: The Value of Teaching Place, Catherine M. English
My Secret Life in Film: A Memoir, Kelly Grey Carlisle
After the Rainbow, Rachel Hruza
Skunk Hammock, Britton Cody Lumpkin
Using Textual Features to Predict Popular Content on Digg, Paul H. Miller
The Dutch Smuggler's Story [abstract only], Devin Murphy
"What's A Goin' On?" People and Place in the Fiction of Edythe Squier Draper, 1924-1941, Aubrey R. Streit Krug
Queen of the Platform: Inventions on the Life of Matilda Fletcher, Laura Madeline Wiseman
"Good English": Literacy and Institutional Systems at a Community Literacy Organization, Charise G. Alexander
Women Gathered on Flat Rooftops and Thumprints in Black Coffee, Sana M. Amoura-Patterson
Examining Early and Recent Criticism of The Waste Land: A Reassessment, Tyler E. Anderson Mr.
How the World Turns Quietly, Dana N. Boyer
Don DeLillo and 9/11: A Question of Response, Michael Jamieson
Why We Love Dusk, Scott C. Kratochvil
Keep Going, Jeff Lacey
UNRAVELLING THE REBOZO: THE EFFECTS OF POWER ON THE BODY IN SANDRA CISNEROS’S CARAMELO, Guadalupe V. Linares