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 < email@example.com > 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.
Short Stories, Tall Tales, Chance Lure Allen
Slowly but Surely, Katie Bosley
Tomorrow is the Worst Day Since Yesterday, Matthew Carlson
Things Change, Julia Leggent
The Use of Egyptian Blue in Funerary Paintings from Roman Egypt, Margaret Sather
Growth, Taylor Sijan
Eat My Quartz, Neil Celani-Morrell
What the Eyes See and the Mind Knows, Amanda Durig
Cornucopia, Patrick Hargraves
I Poked You Where We Were Connected, Sophia Ruppert
ENTANGLED, Katherine Cox
Crushing Caution, Lindsey Day
A Walk Through Shadows, Nicholas Sheldon
This is Just to Say, Iren Tete
Restorative, Mallory Trecaso
Malleable Perspectives, Erik White
The Adjacent, Phoebe Jan-McMahon
IN BETWEEN, Wansoo Kim
A Synthesis of Structures, Patrick Kingshill
Re-Making The Mark, Zora Murff
It Can't Leave You The Way It Finds You, Kyle Nobles
Pottery and Purpose: Using GIS to Evaluate the 'Scroll' Jars at Qumran, Patricia A. Patton
Time and Lines, Richard Pecos Pryor
Someday I'll Find the Sun, John-David Richardson
A Certain Kind of Woman, Emily Wiethorn
CHIMERA rising, Rosana Ybarra
Domestic Curiosities, Larry D. Buller
SUBSTRATO PARA DEVANEIOS, Louise Deroualle
Object Landscape, Stuart B. Gair
The Quick and The Dead, Robert Hall
pause, Bryon Hartley
The Origins and Identity of Roman Mithraism, Charles R. Hill
Ephemeral Permanence, Emily Reason
The Talismanic Seal Stone of Crete: A Re-evaluation., Catherine Stram
Whitetail, Michael Steven Villarreal
Two-faced and Vulnerable, Stephanie Wright
The Rug's Topography, Rana Young
Insight: An Invitation, Joyce Bingeman
Land/People, Amanda R. Breitbach
Don't Worry, Patricia L. Davis
Ripple, Surge, Release, Meryl E. Engler
Zero Street, Keith Graham
Until It Doesn't, Kendall Johnson
When The Wind Stops, Qwist Joseph
Tangled Knot Tied, Shalya Marsh
Maybe the Gate Could Be a Fan, Erin L. Schoenbeck
Esprit de Corps, Shalbey L. Workman
Constructing Helen Frankenthaler: Redefining a 'Woman' Artist Since 1960, Alexandra P. Alberda
Line Language, Albert Avi Arenfeld
Man to Man, Chadric Devin Harms
Inner Struggle, Hiromi Iyoda
On Nine Mile, Allen Morris
Dear, Whoever You Are, I Don't Care Who You Are, Adrienne Smart
Lucas Cranach's Samson and Delilah in Northern European Art, Jacqueline S. Spackman
Half-Light, Kelly A. Stading
Unknown, Gabrielle E. Valdez
Form in Place, Normandy Alden
Constructions of Black Identity in the Work of Glenn Ligon and Kara Walker, Shadé R. Ayorinde
Iterations, Thomas Lowell Edwards
A Language In Becoming, Camille C. Hawbaker
A Collection: Simulations of the Home, Liana M. Owad
Serpentine Imagery in Nineteenth-Century Prints, Paula A. Rotschafer
Carrying Water: A M.F.A. Thesis Exhibition by Aaron Sober, Aaron M. Sober
Closely Distant, Crisha Yantis
Square With the World, Dustin Andrew Young
Your Turn, Samuel J. Berner
Half True - All Real, Matthew G. Blache
PATH - LOSS, Gregory S. Cook
A Relationship of Parts, Jacob Francois
Threshold, Alexandria Knipe
Constructions, Sean Ryan Larson
When the World Went Quiet, Megan E. McLeay
Geographies of Story, Emma Nishimura
Dream State , Audrey L. Stommes
Someone/No One, Jamie L. Fritz
You Are Some Other Thing, Victoria Hoyt
Transcendent Materiality, Lauren E. Mabry
Media Revolution: Early Prints from the Sheldon Museum of Art, Gregory Nosan and Alison G. Stewart
A TRANSFORMATIONAL BOND, Nettie L. Rogers
All That We See(m), Alison H. VanVolkenburgh
Zoomorphic Penannular Brooches in 6th and 7th Century Ireland, Esther G. Ward
Scenes from a Crash, Byron J. Anway
Measured Chance, Brian R. Kluge