Heidegger, Affect, Performativity

It has always surprised me how little Heidegger's conception of mood or attunement (Stimmung) is used by theorists of affect. It's a very rich concept, and in fact it is one of Heidegger's most significant contributions to philosophy that he rigorously thought it out: he rescued it (with Husserl, and, in a different quarter, Bergson) from the oblivion to which epistemology-centered work had consigned it, arguing it had more significance than as an external accident of psychology.
Perhaps this is the case because the body doesn't make too many significant appearances in Heidegger (unlike Husserl and Bergson): the circuit between body and mood might have to be a bit more elaborated for them to pick it up. But Heidegger does indeed make inroads into this connection (especially in his seminars), so the problem seems deeper than this.
A clue is given from these theorists' reliance on psychology. It is as if we get that odd connection Husserl and Bergson were making between the psychology and a larger structure of existence, without Heidegger's development of it into an existential structure that depends on a real rich conception of being. That is, it is as if philosophy just before Heidegger has returned in this area with a vengeance, to the precise exclusion of Heidegger.
This proves one thing: people want to subtract being from theories of affect. This makes total sense: the proliferation of performativity as a conception of identity precisely junked being in the area of selfhood, where anticipation and historicity were, so what remains is to explain affect while junking its dependence on mood or attunement too.
I don't think this is a mistake, personally, but I do think since affect has been much more maligned as a phenomenon than selfhood, these theorists might be losing something significant. They are losing, first and foremost, an idea of the coherence or structuredness of affect--or, since coherence and structuredness get thought otherwise in performative theories of identity, I should probably say an idea of function. Affect functions. It leads you into other states. The biggest problem with studies of affect that I see is that, fundamentally, because everything is performative, there is no ability to distinguish between affects: shame might be different than anxiety, but there's no way to explain that, because in the end it all really just collapses into performativity. Again, this collapse is great--I like performativity--it's just that we're not able to explain affects (in the plural) as accurately as we seem to want by way of it.
Fundamentally, I think there is a problem of phenomenality involved. Performativity is a theory of identity that disturbs (delays and defers) phenomenality. This brings it beyond Heidegger. But this same disturbance cannot exactly take place with affect, though it should: the real interesting thing about performative theories of affect is that there should be no subordination of affect to identity, precisely as there is in Heidegger. But this occurs: not because studies of affect perpetuate the old subordination, but because if they don't do it, affect becomes performativity, as we were saying. The two have the same function--to subvert the subject. The subordination remains, then, but for a different reason.
What this does though is--oddly--to make affect function more phenomenally than identity. This leads to--and this is a real regression--the desire to want to explain certain aspects of how one really does feel like when they are sad, or anxious, or whatever. But this is to precisely undo the contribution that performativity makes to the study of identity: it doesn't matter how you "really are," because you are determined (subverted) otherwise than that--in other words, the basis of your identity is not in being, so the question of authenticity (which is the phenomenological question par excellence) isn't relevant.
I think we need, then, to turn the focus on affect around: this would bring us to consider the link between a particular affect and all performative aspects of a self, and why one in the end can't be distinguished from the other. It would bring us to the problem of how to distinguish otherwise--and it would do this precisely in opposition to the tendency to try and explain affect based on how we really feel in a situation.
And oddly, I think, this would bring us back to Heidegger. For what Heidegger has some very rigorous functions ascribed to affects--and different affects, by the way--which we can study. If we can somehow extricate ourselves from their focus on being, we might then see that what is performatively subverted in the realm of affect is precisely a certain understanding of the functions of various affects. This would seem to be closer to the real thrust of performance, as we find in Butler, for example: the issue is not exactly to constitute a self that is free of all constraints, but to have a self that does this only by deconstructing the particular understandings (that is, phenomenologies) of roles that exist.
This has been sketchy at best (especially the last part, of which I'm really not sure), but I hope to revise this over the next few days and somewhat make it all clearer. The important thing for now was outlining the path of the thought.