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 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).

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").
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.

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2023

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bound by matter, Carlie Antes

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Until Morning, Asher Berard

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Silhouette, Andy Bissonnette

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The Midwestern Aristocracy: Anders Zorn's Portraits in Gilded Age St. Louis, Rebekah Hoke Brown

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am i another you?, Laura Diane Cobb

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QUALIA, Maxwell Henderson

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magic mirrors, Jamie Ho

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All I Am, All I Am Not, Courtney Kuehn

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Why sweep the cinders…, Gretchen Larsen

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Spit Brimming with Futures, Penny Molesso

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Spectacle in the Roman Imperial Funeral Procession, William Smith

2022

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me tengo que ir, Eddy Leonel Aldana

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It Won’t Be Easy, Allison Arkush

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Idylls, Madison Aunger

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I Want to Go Home, Amber Boris

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A Natural History (Built to be Seen), Austin Cullen and Austin Wray Cullen

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Brick Collage, Dehmie Dehmlow

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Salt in Our Bones, Hannah Demma

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The Ghosts Shed Tears, Sarah Jentsch

2021

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Short Stories, Tall Tales, Chance Lure Allen

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Slowly but Surely, Katie Bosley

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Tomorrow is the Worst Day Since Yesterday, Matthew Carlson

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Devastation Experienced When Two Individuals Stop Kissing One Another, Isaiah Jones

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Things Change, Julia Leggent

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Take Your Time, Terry A. Ratzlaff

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The Use of Egyptian Blue in Funerary Paintings from Roman Egypt, Margaret Sather

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Growth, Taylor Sijan

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The Weight of It All, Amythest Warrington

2020

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Gendering Art History in the Victorian Age: Anna Jameson, Elizabeth Eastlake, and George Eliot in Florence, Antje Anderson

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Eat My Quartz, Neil Celani-Morrell

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What the Eyes See and the Mind Knows, Amanda Durig

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Cornucopia, Patrick Hargraves

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I Poked You Where We Were Connected, Sophia Ruppert

2019

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Of Water Jars and Women: A Re-evaluation of Fountain House Imagery on Late Archaic Black-Figure Hydriai, Christopher Askew

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ENTANGLED, Katherine Cox

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Crushing Caution, Lindsey Day

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Patronage and Portable Portraits: Early English Miniatures: 1520-1544, Ashley Owens

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A Walk Through Shadows, Nicholas Sheldon

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This is Just to Say, Iren Tete

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Restorative, Mallory Trecaso

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Malleable Perspectives, Erik White

2018

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The Adjacent, Phoebe Jan-McMahon

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IN BETWEEN, Wansoo Kim

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A Synthesis of Structures, Patrick Kingshill

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Re-Making The Mark, Zora Murff

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It Can't Leave You The Way It Finds You, Kyle Nobles

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Pottery and Purpose: Using GIS to Evaluate the 'Scroll' Jars at Qumran, Patricia A. Patton

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Time and Lines, Richard Pecos Pryor

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Someday I'll Find the Sun, John-David Richardson

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Between Global and Local: Geometric Patterns of Gallic Roman Mosaics, Rebecca Salem

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A Certain Kind of Woman, Emily Wiethorn

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CHIMERA rising, Rosana Ybarra

2017

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Domestic Curiosities, Larry D. Buller

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SUBSTRATO PARA DEVANEIOS, Louise Deroualle

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Object Landscape, Stuart B. Gair

The Quick and The Dead, Robert Hall

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pause, Bryon Hartley

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The Origins and Identity of Roman Mithraism, Charles R. Hill

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Viewing Heaven: Rock Crystal, Reliquaries, and Transparency in Fourteenth-Century Aachen, Claire Kilgore

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Ephemeral Permanence, Emily Reason

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Shattered Ceilings: Roof Tile Analysis on Survey Archaeology Projects, Rebecca Salem

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The Talismanic Seal Stone of Crete: A Re-evaluation., Catherine Stram

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Deconstructing Ideas of Utility through the Making of Ceramic Vessels, Iren Tete

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Whitetail, Michael Steven Villarreal

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Two-faced and Vulnerable, Stephanie Wright

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The Rug's Topography, Rana Young

2016

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Insight: An Invitation, Joyce Bingeman

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Land/People, Amanda R. Breitbach

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Don't Worry, Patricia L. Davis

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Ripple, Surge, Release, Meryl E. Engler

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Zero Street, Keith Graham

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Until It Doesn't, Kendall Johnson

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When The Wind Stops, Qwist Joseph

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Tangled Knot Tied, Shalya Marsh

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Representing Propaganda: Anti-Tyrannical Art of the Greek, Roman, and French Populist Agendas, Katherine Norgard

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Maybe the Gate Could Be a Fan, Erin L. Schoenbeck

Esprit de Corps, Shalbey L. Workman

2015

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Constructing Helen Frankenthaler: Redefining a 'Woman' Artist Since 1960, Alexandra P. Alberda

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Line Language, Albert Avi Arenfeld

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Between Historical Truth and Story-Telling: The Twentieth-Century Fabrication of “Artemisia”, Britiany Daugherty

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Man to Man, Chadric Devin Harms

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Inner Struggle, Hiromi Iyoda

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On Nine Mile, Allen Morris

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Dear, Whoever You Are, I Don't Care Who You Are, Adrienne Smart

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Lucas Cranach's Samson and Delilah in Northern European Art, Jacqueline S. Spackman

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Half-Light, Kelly A. Stading

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Unknown, Gabrielle E. Valdez

2014

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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