| 2007年 | 107回 | | ドリス・レッシング | | that epicist of the female experience, who with scepticism, fire and visionary power has subjected a divided civilisation to scrutiny | ドリス・レッシング | |
| 2006年 | 106回 | | オルハン・パムク | | who in the quest for the melancholic soul of his native city has discovered new symbols for the clash and interlacing of cultures. | オルハン・パムク | |
| 2005年 | 105回 | | ハロルド・ピンター | | who in his plays uncovers the precipice under everyday prattle and forces entry into oppression's closed rooms. | ハロルド・ピンター | |
| 2004年 | 104回 | | エルフリーデ・イェリネク | | for her musical flow of voices and counter-voices in novels and plays that with extraordinary linguistic zeal reveal the absurdity of society's clichés and their subjugating power. | エルフリーデ・イェリネク | |
| 2003年 | 103回 | | ジョン・クッツェー | | who in innumerable guises portrays the surprising involvement of the outsider. | ジョン・クッツェー | |
| 2002年 | 102回 | | ケルテース・イムレ | | for writing that upholds the fragile experience of the individual against the barbaric arbitrariness of history. | ケルテース・イムレ | |
| 2001年 | 101回 | | ヴィディアダハル・スラヤプラサド・ナイポール | | for having united perceptive narrative and incorruptible scrutiny in works that compel us to see the presence of suppressed histories. | ヴィディアダハル・スラヤプラサド・ナイポール | |
| 2000年 | 100回 | | 高行健 | | for an oeuvre of universal validity, bitter insights and linguistic ingenuity, which has opened new paths for the Chinese novel and drama. | ガオ・シンヂエン | |
| 1999年 | 99回 | | ギュンター・グラス | | whose frolicsome black fables portray the forgotten face of history. | ギュンター・グラス | |
| 1998年 | 98回 | | ジョゼ・サラマーゴ | | who with parables sustained by imagination, compassion and irony continually enables us once again to apprehend an elusory reality. | ジョゼ・サラマーゴ | |
| 1997年 | 97回 | | ダリオ・フォ | | who emulates the jesters of the Middle Ages in scourging authority and upholding the dignity of the downtrodden. | ダリオ・フォ | |
| 1996年 | 96回 | | ヴィスワバ・シンボルスカ | | for poetry that with ironic precision allows the historical and biological context to come to light in fragments of human reality. | ヴィスワバ・シンボルスカ | |
| 1995年 | 95回 | | シェイマス・ヒーニー | | for works of lyrical beauty and ethical depth, which exalt everyday miracles and the living past. | シェイマス・ヒーニー | |
| 1994年 | 94回 | | 大江健三郎 | | who with poetic force creates an imagined world, where life and myth condense to form a disconcerting picture of the human predicament today. | おおえけんざぶろう | |
| 1993年 | 93回 | | トニ・モリスン | | who in novels characterized by visionary force and poetic import, gives life to an essential aspect of American reality. | トニ・モリスン | |
| 1992年 | 92回 | | デレック・ウォルコット | | for a poetic oeuvre of great luminosity, sustained by a historical vision, the outcome of a multicultural commitment. | デレック・ウォルコット | |
| 1991年 | 91回 | | ナディン・ゴーディマー | | who through her magnificent epic writing has - in the words of Alfred Nobel - been of very great benefit to humanity. | ナディン・ゴーディマー | |
| 1990年 | 90回 | | オクタビオ・パス | | for impassioned writing with wide horizons, characterized by sensuous intelligence and humanistic integrity. | オクタビオ・パス | |
| 1989年 | 89回 | | カミーロ・ホセ・セラ | | for a rich and intensive prose, which with restrained compassion forms a challenging vision of man's vulnerability. | カミーロ・ホセ・セラ | |
| 1988年 | 88回 | | ナギーブ・マフフーズ | | who, through works rich in nuance - now clearsightedly realistic, now evocatively ambiguous - has formed an Arabian narrative art that applies to all mankind. | ナギーブ・マフフーズ | |
| 1987年 | 87回 | | ヨシフ・ブロツキー | | for an all-embracing authorship, imbued with clarity of thought and poetic intensity. | ヨシフ・ブロツキー | |
| 1986年 | 86回 | | ウォーレ・ショインカ | | in a wide cultural perspective and with poetic overtones fashions the drama of existence. | ウォーレ・ショインカ | |
| 1985年 | 85回 | | クロード・シモン | | who in his novel combines the poet's and the painter's creativeness with a deepened awareness of time in the depiction of the human condition. | クロード・シモン | |
| 1984年 | 84回 | | ヤロスラフ・サイフェルト | | for his poetry which endowed with freshness, and rich inventiveness provides a liberating image of the indomitable spirit and versatility of man. | ヤロスラフ・サイフェルト | |
| 1983年 | 83回 | | ウィリアム・ゴールディング | | for his novels which, with the perspicuity of realistic narrative art and the diversity and universality of myth, illuminate the human condition in the world of today. | ウィリアム・ゴールディング | |
| 1982年 | 82回 | | ガブリエル・ガルシア＝マルケス | | for his novels and short stories, in which the fantastic and the realistic are combined in a richly composed world of imagination, reflecting a continent's life and conflicts. | ガブリエル・ガルシア＝マルケス | |
| 1981年 | 81回 | | エリアス・カネッティ | | for writings marked by a broad outlook, a wealth of ideas and artistic power. | エリアス・カネッティ | |
| 1980年 | 80回 | | チェスワフ・ミウォシュ | | who with uncompromising clear-sightedness voices man's exposed condition in a world of severe conflicts. | チェスワフ・ミウォシュ | |
| 1979年 | 79回 | | オデッセアス・エリティス | | for his poetry, which, against the background of Greek tradition, depicts with sensuous strength and intellectual clear-sightedness modern man's struggle for freedom and creativeness. | オデッセアス・エリティス | |
| 1978年 | 78回 | | アイザック・バシェヴィス・シンガー | | for his impassioned narrative art which, with roots in a Polish-Jewish cultural tradition, brings universal human conditions to life. | アイザック・バシェヴィス・シンガー | |
| 1977年 | 77回 | | ヴィセンテ・アレイクサンドレ | | for a creative poetic writing which illuminates man's condition in the cosmos and in present-day society, at the same time representing the great renewal of the traditions of Spanish poetry between the wars. | ヴィセンテ・アレイクサンドレ | |
| 1976年 | 76回 | | ソール・ベロー | | for the human understanding and subtle analysis of contemporary culture that are combined in his work. | ソール・ベロー | |
| 1975年 | 75回 | | エウジェーニオ・モンターレ | | for his distinctive poetry which, with great artistic sensitivity, has interpreted human values under the sign of an outlook on life with no illusions. | エウジェーニオ・モンターレ | |
| 1974年 | 74回 | | ハリー・マーティンソン | | for writings that catch the dewdrop and reflect the cosmos. | ハリー・マーティンソン | |
| 1974年 | 74回 | | エイヴィンド・ユーンソン | | for a narrative art, farseeing in lands and ages, in the service of freedom. | エイヴィンド・ユーンソン | |
| 1973年 | 73回 | | パトリック・ホワイト | | for an epic and psychological narrative art which has introduced a new continent into literature. | パトリック・ホワイト | |
| 1972年 | 72回 | | ハインリヒ・ベル | | for his writing which through its combination of a broad perspective on his time and a sensitive skill in characterization has contributed to a renewal of German literature. | ハインリヒ・ベル | |
| 1971年 | 71回 | | パブロ・ネルーダ | | for a poetry that with the action of an elemental force brings alive a continent's destiny and dreams. | パブロ・ネルーダ | |
| 1970年 | 70回 | | アレクサンドル・ソルジェニーツィン | | for the ethical force with which he has pursued the indispensable traditions of Russian literature. | アレクサンドル・ソルジェニーツィン | |
| 1969年 | 69回 | | サミュエル・ベケット | | for his writing, which - in new forms for the novel and drama - in the destitution of modern man acquires its elevation. | サミュエル・ベケット | |
| 1968年 | 68回 | | 川端康成 | | for his narrative mastery, which with great sensibility expresses the essence of the Japanese mind. | かわばたやすなり | |
| 1967年 | 67回 | | ミゲル・アンヘル・アストゥリアス | | for his vivid literary achievement, deep-rooted in the national traits and traditions of Indian peoples of Latin America. | ミゲル・アンヘル・アストゥリアス | |
| 1966年 | 66回 | | ネリー・ザックス | | for her outstanding lyrical and dramatic writing, which interprets Israel's destiny with touching strength. | ネリー・ザックス | |
| 1966年 | 66回 | | シュムエル・アグノン | | for his profoundly characteristic narrative art with motifs from the life of the Jewish people. | シュムエル・アグノン | |
| 1965年 | 65回 | | ミハイル・ショーロホフ | | for the artistic power and integrity with which, in his epic of the Don, he has given expression to a historic phase in the life of the Russian people. | ミハイル・ショーロホフ | |
| 1964年 | 64回 | | ジャン＝ポール・サルトル | | for his work which, rich in ideas and filled with the spirit of freedom and the quest for truth, has exerted a farreaching influence on our age. | ジャン＝ポール・サルトル | |
| 1963年 | 63回 | | イオルゴス・セフェリス | | for his eminent lyrical writing, inspired by a deep feeling for the Hellenic world of culture. | イオルゴス・セフェリス | |
| 1962年 | 62回 | | ジョン・スタインベック | | for his realistic and imaginative writings, combining as they do sympathetic humour and keen social perception. | ジョン・スタインベック | |
| 1961年 | 61回 | | イヴォ・アンドリッチ | | for the epic force with which he has traced themes and depicted human destinies drawn from the history of his country. | イヴォ・アンドリッチ | |
| 1960年 | 60回 | | サン＝ジョン・ペルス | | for the soaring flight and the evocative imagery of his poetry which in a visionary fashion reflects the conditions of our time. | サン＝ジョン・ペルス | |
| 1959年 | 59回 | | サルヴァトーレ・クァジモド | | for his lyrical poetry, which with classical fire expresses the tragic experience of life in our own times. | サルヴァトーレ・クァジモド | |
| 1958年 | 58回 | | ボリス・L・パステルナーク | | for his important achievement both in contemporary lyrical poetry and in the field of the great Russian epic tradition. | ボリス・L・パステルナーク | |
| 1957年 | 57回 | | アルベール・カミュ | | for his important literary production, which with clear-sighted earnestness illuminates the problems of the human conscience in our times. | アルベール・カミュ | |
| 1956年 | 56回 | | ホセ・ラモン・ヒメネス | | for his lyrical poetry, which in Spanish language constitutes an example of high spirit and artistical purity. | ホセ・ラモン・ヒメネス | |
| 1955年 | 55回 | | ハルドル・ラクスネス | | for his vivid epic power which has renewed the great narrative art of Iceland. | ハルドル・ラクスネス | |
| 1954年 | 54回 | | アーネスト・ヘミングウェイ | | for his mastery of the art of narrative, most recently demonstrated in The Old Man and the Sea, and for the influence that he has exerted on contemporary style. | アーネスト・ヘミングウェイ | |
| 1953年 | 53回 | | ウィンストン・チャーチル | | for his mastery of historical and biographical description as well as for brilliant oratory in defending exalted human values. | ウィンストン・チャーチル | |
| 1952年 | 52回 | | フランソワ・モーリアック | | for the deep spiritual insight and the artistic intensity with which he has in his novels penetrated the drama of human life. | フランソワ・モーリアック | |
| 1951年 | 51回 | | ペール・ラーゲルクヴィスト | | for the artistic vigour and true independence of mind with which he endeavours in his poetry to find answers to the eternal questions confronting mankind. | ペール・ラーゲルクヴィスト | |
| 1950年 | 50回 | | バートランド・ラッセル | | in recognition of his varied and significant writings in which he champions humanitarian ideals and freedom of thought. | バートランド・ラッセル | |
| 1949年 | 49回 | | ウィリアム・フォークナー | | for his powerful and artistically unique contribution to the modern American novel. | ウィリアム・フォークナー | |
| 1948年 | 48回 | | T・S・エリオット | | for his outstanding, pioneer contribution to present-day poetry. | T・S・エリオット | |
| 1947年 | 47回 | | アンドレ・ジッド | | for his comprehensive and artistically significant writings, in which human problems and conditions have been presented with a fearless love of truth and keen psychological insight. | アンドレ・ジッド | |
| 1946年 | 46回 | | ヘルマン・ヘッセ | | for his inspired writings which, while growing in boldness and penetration, exemplify the classical humanitarian ideals and high qualities of style. | ヘルマン・ヘッセ | |
| 1945年 | 45回 | | ガブリエラ・ミストラル | | for her lyric poetry which, inspired by powerful emotions, has made her name a symbol of the idealistic aspirations of the entire Latin American world. | ガブリエラ・ミストラル | |
| 1944年 | 44回 | | ヨハネス・ヴィルヘルム・イェンセン | | for the rare strength and fertility of his poetic imagination with which is combined an intellectual curiosity of wide scope and a bold, freshly creative style. | ヨハネス・ヴィルヘルム・イェンセン | |
| 1943年 | 43回 | | 該当者なし | | | がいとうしゃなし | |
| 1942年 | 42回 | | 該当者なし | | | がいとうしゃなし | |
| 1941年 | 41回 | | 該当者なし | | | がいとうしゃなし | |
| 1940年 | 40回 | | 該当者なし | | | がいとうしゃなし | |
| 1939年 | 39回 | | フランス・エーミル・シランペー | | for his deep understanding of his country's peasantry and the exquisite art with which he has portrayed their way of life and their relationship with Nature. | フランス・エーミル・シランペー | |
| 1938年 | 38回 | | パール・S・バック | | for her rich and truly epic descriptions of peasant life in China and for her biographical masterpieces. | パール・S・バック | |
| 1937年 | 37回 | | ロジェ・マルタン・デュ・ガール | | for the artistic power and truth with which he has depicted human conflict as well as some fundamental aspects of contemporary life in his novel cycle Les Thibault. | ロジェ・マルタン・デュ・ガール | |
| 1936年 | 36回 | | ユージン・オニール | | for the power, honesty and deep-felt emotions of his dramatic works, which embody an original concept of tragedy. | ユージン・オニール | |
| 1935年 | 35回 | | 該当者なし | | | がいとうしゃなし | |
| 1934年 | 34回 | | ルイジ・ピランデルロ | | for his bold and ingenious revival of dramatic and scenic art. | ルイジ・ピランデルロ | |
| 1933年 | 33回 | | イヴァン・ブーニン | | for the strict artistry with which he has carried on the classical Russian traditions in prose writing. | イヴァン・ブーニン | |
| 1932年 | 32回 | | ジョン・ゴールズワージー | | for his distinguished art of narration which takes its highest form in The Forsyte Saga. | ジョン・ゴールズワージー | |
| 1931年 | 31回 | | エリク・アクセル・カールフェルト | | The poetry of Erik Axel Karlfeldt | エリク・アクセル・カールフェルト | |
| 1930年 | 30回 | | シンクレア・ルイス | | for his vigorous and graphic art of description and his ability to create, with wit and humour, new types of characters. | シンクレア・ルイス | |
| 1929年 | 29回 | | トーマス・マン | | principally for his great novel, Buddenbrooks, which has won steadily increased recognition as one of the classic works of contemporary literature. | トーマス・マン | |
| 1928年 | 28回 | | シグリ・ウンセット | | principally for her powerful descriptions of Northern life during the Middle Ages. | シグリ・ウンセット | |
| 1927年 | 27回 | | アンリ・ベルクソン | | in recognition of his rich and vitalizing ideas and the brilliant skill with which they have been presented. | アンリ・ベルクソン | |
| 1926年 | 26回 | | グラツィア・デレッダ | | for her idealistically inspired writings which with plastic clarity picture the life on her native island and with depth and sympathy deal with human problems in general. | グラツィア・デレッダ | |
| 1925年 | 25回 | | ジョージ・バーナード・ショー | | for his work which is marked by both idealism and humanity, its stimulating satire often being infused with a singular poetic beauty. | ジョージ・バーナード・ショー | |
| 1924年 | 24回 | | ヴワディスワフ・レイモント | | for his great national epic, The Peasants. | ヴワディスワフ・レイモント | |
| 1923年 | 23回 | | ウィリアム・バトラー・イェイツ | | for his always inspired poetry, which in a highly artistic form gives expression to the spirit of a whole nation. | ウィリアム・バトラー・イェイツ | |
| 1922年 | 22回 | | ハシント・ベナベンテ | | for the happy manner in which he has continued the illustrious traditions of the Spanish drama. | ハシント・ベナベンテ | |
| 1921年 | 21回 | | アナトール・フランス | | in recognition of his brilliant literary achievements, characterized as they are by a nobility of style, a profound human sympathy, grace, and a true Gallic temperament. | アナトール・フランス | |
| 1920年 | 20回 | | クヌート・ハムスン | | for his monumental work, Growth of the Soil. | クヌート・ハムスン | |
| 1919年 | 19回 | | カール・シュピッテラー | | in special appreciation of his epic, Olympian Spring. | カール・シュピッテラー | |
| 1918年 | 18回 | | 該当者なし | | | がいとうしゃなし | |
| 1917年 | 17回 | | ヘンリク・ポントピダン | | for his authentic descriptions of present-day life in Denmark. | ヘンリク・ポントピダン | |
| 1917年 | 17回 | | カール・ギェレルプ | | for his varied and rich poetry, which is inspired by lofty ideals. | カール・ギェレルプ | |
| 1916年 | 16回 | | ヴェルネル・フォン・ハイデンスタム | | in recognition of his significance as the leading representative of a new era in our literature. | ヴェルネル・フォン・ハイデンスタム | |
| 1915年 | 15回 | | ロマン・ロラン | | as a tribute to the lofty idealism of his literary production and to the sympathy and love of truth with which he has described different types of human beings. | ロマン・ロラン | |
| 1914年 | 14回 | | 該当者なし | | | がいとうしゃなし | |
| 1913年 | 13回 | | ラビンドラナート・タゴール | | because of his profoundly sensitive, fresh and beautiful verse, by which, with consummate skill, he has made his poetic thought, expressed in his own English words, a part of the literature of the West. | ラビンドラナート・タゴール | |
| 1912年 | 12回 | | ゲアハルト・ハウプトマン | | primarily in recognition of his fruitful, varied and outstanding production in the realm of dramatic art. | ゲアハルト・ハウプトマン | |
| 1911年 | 11回 | | モーリス・メーテルリンク | | in appreciation of his many-sided literary activities, and especially of his dramatic works, which are distinguished by a wealth of imagination and by a poetic fancy, which reveals, sometimes in the guise of a fairy tale, a deep inspiration, while in a mysterious way they appeal to the readers' own feelings and stimulate their imaginations. | モーリス・メーテルリンク | |
| 1910年 | 10回 | | パウル・フォン・ハイゼ | | as a tribute to the consummate artistry, permeated with idealism, which he has demonstrated during his long productive career as a lyric poet, dramatist, novelist and writer of world-renowned short stories. | パウル・フォン・ハイゼ | |
| 1909年 | 9回 | | セルマ・ラーゲルレーヴ | | in appreciation of the lofty idealism, vivid imagination and spiritual perception that characterize her writings. | セルマ・ラーゲルレーヴ | |
| 1908年 | 8回 | | ルドルフ・クリストフ・オイケン | | in recognition of his earnest search for truth, his penetrating power of thought, his wide range of vision, and the warmth and strength in presentation with which in his numerous works he has vindicated and developed an idealistic philosophy of life. | ルドルフ・クリストフ・オイケン | |
| 1907年 | 7回 | | ラドヤード・キップリング | | in consideration of the power of observation, originality of imagination, virility of ideas and remarkable talent for narration which characterize the creations of this world-famous author. | ラドヤード・キップリング | |
| 1906年 | 6回 | | ジョズエ・カルドゥッチ | | not only in consideration of his deep learning and critical research, but above all as a tribute to the creative energy, freshness of style, and lyrical force which characterize his poetic masterpieces. | ジョズエ・カルドゥッチ | |
| 1905年 | 5回 | | ヘンリク・シェンキェヴィチ | | because of his outstanding merits as an epic writer. | ヘンリク・シェンキェヴィチ | |
| 1904年 | 4回 | | ホセ・エチェガライ・イ・アイサギレ | | in recognition of the numerous and brilliant compositions which, in an individual and original manner, have revived the great traditions of the Spanish drama. | ホセ・エチェガライ・イ・アイサギレ | |
| 1904年 | 4回 | | フレデリック・ミストラル | | in recognition of the fresh originality and true inspiration of his poetic production, which faithfully reflects the natural scenery and native spirit of his people, and, in addition, his significant work as a Provençal philologist. | フレデリック・ミストラル | |
| 1903年 | 3回 | | ビョルンスティエルネ・ビョルンソン | | as a tribute to his noble, magnificent and versatile poetry, which has always been distinguished by both the freshness of its inspiration and the rare purity of its spirit. | ビョルンスティエルネ・ビョルンソン | |
| 1902年 | 2回 | | テオドール・モムゼン | | the greatest living master of the art of historical writing, with special reference to his monumental work, A History of Rome. | テオドール・モムゼン | |
| 1901年 | 1回 | | シュリ・プリュドム | | in special recognition of his poetic composition, which gives evidence of lofty idealism, artistic perfection and a rare combination of the qualities of both heart and intellect. | シュリ・プリュドム | |