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The dramatic works of Shakespeare were created and presented to the London audience a century after the circulation of prominent texts (mostly Spanish, Portuguese, and Italian) about Emopean conquests outside of Emope had begun, and before English voyages started to significantly change both the extra-Emopean imperial landscape and that of Emope itself. The question of the visible natme of otherness seems even more central in the case of Othello. Is the Moor of Venice black? Or rather, should the actors playing the role blacken their faces? This is a topic that has occupied critics from the late 17th century until today. Shylock defends Iris fundamental likeness to those who still perceive him as a foreign element. The emphasis on the bodily dimension of identity between Jews and non-Jews tells the audience that Jews suffer from stigma, even though nothing in their constitution distinguishes them from Christians. Shylock's monologue describes the process of othering endmed by Jews in Christian lands, highlighting the political dynamics that transform one into the other. In om contribution we follow the formation of racial stereotypes in Early Modern England as reflected in tow of Shakespeare's plays of otherness: \"Othello\" and \"The Merchant of Venice\".